ogfC/ESAR    AND 
pjCLEOPATRA 

4  ■  ^      A  PAGE  OF  HISTORY 

4 


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1913 

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Cy^SAR    AND 
CLEOPATRA 

A  PAGE  OF  HISTORY 

By 

BERNARD    SHAW 


NEW  YORK 

BRENTANO'S 

1913 


Digitized  by  the  Internet  Archive 

in  2007  with  funding  fronn 

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CiESAR    AND    CLEOPATRA 


ACT  I 

An  October  night  on  the  Syrian  border  of  Egypt  towards 
the  end  of  the  XXXIII  Dynasty,  in  the  year  706  by  Roman 
computcUiony  afterwards  reckoned  by  Christian  computation  as 
48  B.C.  A  great  radiance  of  silver  fire,  the  dawn  of  a  moonlit 
night,  is  rising  in  the  east.  The  stars  and  the  cloudless  sky  are 
our  own  contemporaries,  nineteen  and  a  half  centuries  younger 
than  we  know  them;  but  you  would  not  gu£ss  thai  from  their  ap- 
pearance. Below  them  are  two  notable  drawbacks  of  civUiza- 
lion:  a  palace,  and  soldiers.  The  palace,  an  old,  low,  Syrian 
building  of  whitened  mud,  is  not  so  ugly  as  Buckingham  Palace; 
and  the  officers  in  the  courtyard  are  more  highly  civilized  than 
modem  English  officers:  for  example,  they  do  not  dig  up  the 
corpses  of  their  dead  enemies  and  mutilate  them,  as  we  dug  up 
Cromwell  and  the  Mahdi.  They  are  in  two  groups:  one  intent 
on  the  gambling  of  their  captain  Belzanor,  a  warrior  of  fifty, 
who,  with  his  spear  on  the  ground  beside  his  knee,  is  stooping  to 
throw  dice  with  a  sly-looking  young  Persian  recruit;  the  other 
gathered  about  a  guardsman  who  has  just  finished  telling  a 
naughty  story  {still  current  in  English  barracks)  at  which  they 
are  laughing  uproariously.  They  are  about  a  dozen  in  number, 
all  highly  aristocratic  young  Egyptian  guardsmen,  handsomely 
equipped  with  weapons  and  armor,  very  unEnglish  in  point  of 
not  being  ashamed  of  and  uncomfortable  in  their  professional 
dress;  on  the  contrary,  rather  ostentatiously  and  arrogantly  war- 
like, as  valuing  themselves  on  their  military  caste. 

Belzanor  is  a  typical  veteran,  tough  and  wilful;  prompt, 
capable  and  crafty  where  brute  force  will  serve;  helpless  and 


6  Caesar  and  Cleopatra  Ac?r  1 

boyish  when  it  will  not:  an  effective  sergeant,  an  incompetent 
general,  a  deplorahle  dictator.  Woidd,  if  influentiallt/  connected, 
be  employed  in  the  two  last  capacities  by  a  modem  European 
State  on  the  strength  of  his  sticcess  in  the  first.  Is  rather  to  be 
pitied  just  now  in  view  of  the  fact  that  Julius  Coesar  is  invading 
his  country.  Not  knowing  this,  is  intent  on  his  game  with  the 
Persian,  whom,  cw  a  foreigner,  he  considers  quite  capable  of 
cheating  him. 

His  subaltems  are  mostly  handsome  young  fellows  whose 
interest  in  the  game  and  the  story  symbolizes  with  tolerable  com' 
pleteness  the  main  interests  in  life  of  which  they  are  conscious. 
Their  spears  are  leaning  against  the  walls,  or  lying  on  the 
ground  ready  to  their  hands.  The  comer  of  the  courtyard  forms 
a  triangle  of  which  one  side  is  the  front  of  the  palace,  with  a 
doorway,  tlie  other  a  wall  vnth  a  gateway.  The  storytellers  are 
on  the  palace  side:  the  gamblers,  on  the  gateway  side.  Close  to 
the  gateway,  against  the  wall,  is  a  stone  block  high  enough  to 
enable  a  Nubian  sentinel,  standing  on  it,  to  look  over  the  wall. 
The  yard  is  lighted  by  a  torch  stuck  in  the  wall.  As  the 
laughter  from  the  group  round  the  storyteller  dies  away,  the 
kneeling  Persian,  winning  the  throw,  snatches  up  the  stake 
from  the  ground. 

Belzanor.     By  Apis,  Persian,  thy  gods  are  good  to  thee. 

The  Persian.    Try  yet  again,  O  captain.    Double  or  quits ! 

Belzanor.     No  more.     I  am  not  in  the  vein. 

The  Sentinel  (poising  his  javelin  as  he  peers  over  the  wall). 
Stand.     Who  goes  there  ? 

They  all  start,  listening.  A  strange  voice  replies  from  vnthout. 

Voice.    The  bearer  of  evil  tidings. 

Belzanor  (calling  to  the  sentry).     Pass  him. 

The  Sentinel  (grounding  his  javelin).  Draw  near,  O 
bearer  of  evil  tidings. 

Belzanor  (pocketing  the  dice  and  picking  up  his  spear). 
Let  us  receive  this  man  with  honor.     He  bears  evil  tidings. 

The  guardsmen  seize  their  spears  and  gather  about  the  gate, 
leaving  a  way  through  for  the  new  comer. 


Act  I  Caesar  and  Cleopatra  7 

Persian  (rising  from  his  knee).  Are  evil  tidings,  then,  so 
honorable  ? 

Belzanou.  O  barbarous  Persian,  hear  my  instruction. 
In  Egypt  the  bearer  of  good  tidings  is  sacrificed  to  the  gods  as 
a  thank  offering;  but  no  god  will  accept  the  blood  of  the  mes- 
senger of  evil.  When  we  have  good  tidings,  we  are  careful  to 
send  them  in  the  mouth  of  the  cheapest  slave  we  can  find. 
Evil  tidings  are  borne  by  young  noblemen  who  desire  to  bring 
themselves  into  notice.     {They  join  the  rest  at  the  gate.) 

The  Sentinel.  Pass,  O  young  captain;  and  bow  the  head 
in  the  House  of  the  Queen. 

Voice.  Go  anoint  thy  javelin  with  fat  of  swine,  O  Black- 
amoor; for  before  morning  the  Romans  will  make  thee  eat  it 
to  the  very  butt. 

The  owner  of  the  voice,  a  fairhaired  dandy,  dressed  in  a 
different  fashion  to  that  affected  by  the  guardsmen,  but  no  less 
extravagantly,  comes  through  the  gateway  laughing.  He  is 
somewhat  battlestained;  and  his  left  forearm,  bandaged,  comes 
through  a  torn  sleeve.  In  his  right  hand  he  carries  a  Roman 
sword  in  its  sheath.  He  swaggers  doxon  the  courtyard,  the  Per- 
sian on  his  right,  Belzanor  on  his  left,  and  the  guardsman  crowd- 
ing down  behind,  him. 

Belzanor.  Who  art  thou  that  laughest  in  the  House  of 
Cleopatra  the  Queen,  and  in  the  teeth  of  Belzanor,  the  captain 
of  her  guard  ? 

The  New  Comer.  I  am  Bel  Affris,  descended  from  the 
gods. 

Belzanor  (ceremonumsly).     Hail,  cousin! 

All  (except  the  Persian).     Hail,  cousin! 

Persian.  All  the  Queen's  guards  are  descended  from  the 
gods,  O  stranger,  save  myself.  I  am  Persian,  and  descended 
from  many  kings. 

Bel  Affris  (to  the  gtiardsmen).  Hail,  cousins!  (To  the 
Persian,  condescendingly)  Hail,  mortal! 

Belzanor.  You  have  been  in  battle,  Bel  Affris;  and  you 
are  a  soldier  among  soldiers.  You  will  not  let  the  Queen's 
women  have  the  first  of  your  tidings. 


g  Caesar  and  Cleopatra  Act  I 

Bel  Affris.  I  have  no  tidings,  except  that  we  shall  have 
our  throats  cut  presently,  women,  soldiers,  and  all. 

Persian  (to  Belzanor).     I  told  you  so. 

The  Sentinel  {who  has  been  listening).     Woe,  alas! 

Bel  Affris  {calling  to  him).  Peace,  peace,  poor  Ethiop: 
destiny  is  with  the  gods  who  painted  thee  black.  {To  Belza- 
nor) What  has  this  mortal  {indicating  the  Persian)  told  you  ? 

Belzanor.  He  says  that  the  Roman  Julius  Caesar,  who 
has  landed  on  our  shores  with  a  handful  of  followers,  will  make 
himself  master  of  Egypt.  He  is  afraid  of  the  Roman  soldiers. 
(The  guardsmen  laugh  vnth  boisterous  scorn.)  Peasants, 
brought  up  to  scare  crows  and  follow  the  plough.  Sons  of 
smiths  and  millers  and  tanners!  And  we  nobles,  consecrated 
to  arms,  descended  from  the  gods! 

Persian.  Belzanor:  the  gods  are  not  always  good  to  their 
poor  relations. 

Belzanor  {hotly,  to  the  Persian).  Man  to  man,  are  we 
worse  than  the  slaves  of  Caesar  ? 

Bel  Affris  (sfeppingr  ftefweenf^m).  Listen,  cousin.  Man 
to  man,  we  Egyptians  are  as  gods  above  the  Romans. 

The  Guardsmen  {exultingly).    Aha! 

Bel  Affris.  But  this  Caesar  does  not  pit  man  against  man : 
he  throws  a  legion  at  you  where  you  are  weakest  as  he  throws  a 
stone  from  a  catapult;  and  that  legion  is  as  a  man  with  one 
head,  a  thousand  arms,  and  no  religion.  I  have  fought  against 
them;  and  I  know. 

Belzanor  {derisively).     Were  you  frightened,  cousin? 

The  guardsmen  roar  with  laughter,  their  eyes  sparkling  at  the 
vnt  of  their  captain. 

Bel  Affris.  No,  cousin;  but  I  was  beaten.  They  were 
frightened  (perhaps) ;  but  they  scattered  us  like  chaff. 

The  guardsmen,  much  damped,  utter  a  growl  of  contempttuma 
disgust. 

Belzanor.     Could  you  not  die  ? 

Bel  Affris.  No:  that  was  too  easy  to  be  worthy  of  a  de- 
scendant of  the  gods.  Besides,  there  was  no  time :  all  was  over 
in  a  moment.    The  attack  came  just  where  we  least  expected  it. 


Act  1  CfiBsar  and  Cleopatra  9 

Belzanob.     That  shews  that  the  Romans  are  cowards. 

Bel  Affris.  They  care  nothing  about  cowardice,  these 
Romans:  they  fight  to  win.  The  pride  and  honor  of  war  are 
nothing  to  them. 

Persian.    Tell  us  the  tale  of  the  battle.    What  befell  ? 

The  Guardsmen  (gathering  eagerly  round  Bel  Affris) .  Ay : 
the  tale  of  the  battle. 

Bel  Affris.  Know  then,  that  I  am  a  novice  in  the  guard 
of  the  temple  of  Ra  in  Memphis,  serving  neither  Cleopatra  nor 
her  brother  Ptolemy,  but  only  the  high  gods.  We  went  a 
journey  to  inquire  of  Ptolemy  why  he  had  driven  Cleopatra 
into  Syria,  and  how  we  of  Egypt  should  deal  with  the  Roman 
Pompey,  newly  come  to  our  shores  after  his  defeat  by  Csesar 
at  Pharsalia.  What,  think  ye,  did  we  learn?  Even  that 
Caesar  is  coming  also  in  hot  pursuit  of  his  foe,  and  that  Ptolemy 
has  slain  Pompey,  whose  severed  head  he  holds  in  readiness  to 
present  to  the  conqueror.  (Sensation  among  the  guardsmen.) 
Nay,  more:  we  found  that  Caesar  is  already  come;  for  we  had 
not  made  half  a  day's  journey  on  our  way  back  when  we  came 
upon  a  city  rabble  flying  from  his  legions,  whose  landing  they 
had  gone  out  to  withstand. 

Belzanor.  And  ye,  the  temple  guard!  did  ye  not  with- 
stand these  legions  ? 

Bel  Affris.  What  man  could,  that  we  did.  But  there 
came  the  sound  of  a  trumpet  whose  voice  was  as  the  cursing 
of  a  black  mountain.  Then  saw  we  a  moving  wall  of  shields 
coming  towards  us.  You  know  how  the  heart  bums  when  you 
charge  a  fortified  wall;  but  how  if  the  fortified  wall  were  to 
charge  you? 

The  Persian  (exvUing  in  having  told  them  so).  Did  I  not 
say  it? 

Bel  Affris.  When  the  wall  came  nigh,  it  changed  into 
a  line  of  men — common  fellows  enough,  with  helmets,  leather 
tunics,  and  breastplates.  Every  man  of  them  flung  his  jave- 
lin: the  one  that  came  my  way  drove  through  my  shield  as 
through  a  papyrus — lo  there!  (he  points  to  the  bandage  on  his 
left  arm)  and  would  have  gone  through  my  neck  had  I  not 


10  Cassar  and  Cleopatra  Act  I 

stooped.  They  were  charging  at  the  double  then,  and  were 
upon  us  with  short  swords  almost  as  soon  as  their  javelins. 
When  a  man  is  close  to  you  with  such  a  sword,  you  can  do 
nothing  with  our  weapons:  they  are  all  too  long. 

The  Persian.     What  did  you  do  ? 

Bel  Affris.  Doubled  my  fist  and  smote  my  Roman  on  the 
sharpness  of  his  jaw.  He  was  but  mortal  after  all:  he  lay 
down  in  a  stupor;  and  I  took  his  sword  and  laid  it  on.  (Draw- 
ing the  sword)  Lo!  a  Roman  sword  with  Roman  blood 
on  it! 

The  Guardsmen  (approvingly).  Good!  (They  take  the 
sword  and  hand  it  round,  examining  it  curiously.) 

The  Persian.     And  your  men  ? 

Bel  Affris.     Fled.     Scattered  like  sheep. 

^ELZAJSOR  (furiously) .  The  cowardly  slaves!  Leaving  the 
descendants  of  the  gods  to  be  butchered! 

Bel  Affris  (with  acid  coolnes.s).  The  descendants  of  the 
gods  did  not  stay  to  be  butchered,  cousin.  The  battle  was  not 
to  the  strong;  but  the  race  was  to  the  swift.  The  Romans, 
who  have  no  chariots,  sent  a  cloud  of  horsemen  in  pursuit,  and 
slew  multitudes.  Then  our  high  priest's  captain  rallied  a 
dozen  descendants  of  the  gods  and  exhorted  us  to  die  fighting. 
I  said  to  myself:  surely  it  is  safer  to  stand  than  to  lose  my 
breath  and  be  stabbed  in  the  back;  so  I  joined  our  captain  and 
stood.  Then  the  Romans  treated  us  with  respect;  for  no  man 
attacks  a  lion  when  the  field  is  full  of  sheep,  except  for  the  pride 
and  honor  of  war,  of  which  these  Romans  know  nothing.  So 
we  escaped  with  our  lives;  and  I  am  come  to  warn  you  that  you 
must  open  your  gates  to  Caesar;  for  his  advance  guard  is  scarce 
an  hour  behind  me;  and  not  an  Egyptian  warrior  is  left  stand- 
ing between  you  and  bis  legions. 

The  Sentinel.  Woe,  alas!  (He  throws  down  his  javelin 
and  flies  into  the  palace.) 

Belzanor.  Nail  him  to  the  door,  quick !  (The  guardsmen 
rush  for  him  with  their  spears;  hut  he  is  too  quick  for  them.) 
Now  this  news  will  run  through  the  palace  like  fire  through 
stubble. 


Act  I  Cffisar  and  Cleopatra  11 

Bel  Affris.  What  shall  we  do  to  save  the  women  from 
the  Romans? 

Belzanor.     Why  not  kill  them  ? 

Persian.  Because  we  should  have  to  pay  blood  money  for 
some  of  them.     Better  let  the  Romans  kill  them:  it  is  cheaper. 

Belzanor  {awestruck  at  his  brain  power).  O  subtle  one! 
O  serpent! 

Bel  Affris.    But  your  Queen  ? 

Belzanor.     True:  we  must  carry  off  Cleopatra. 

Bel  Affris.     Will  ye  not  await  her  command  ? 

Belzanor.  Command!  a  girl  of  sixteen!  Not  we.  At 
Memphis  ye  deem  her  a  Queen:  here  we  know  better.  I  will 
take  her  on  the  crupper  of  my  horse.  When  we  soldiers  have 
carried  her  out  of  Caesar's  reach,  then  the  priests  and  iHae  nurses 
and  the  rest  of  them  can  pretend  she  is  a  queen  again,  and  put 
their  commands  into  her  mouth. 

Persian.     Listen  to  me,  Belzanor. 

Belzanor.     Speak,  O  subtle  beyond  thy  years. 

The  Persian.  Cleopatra's  brother  Ptolemy  is  at  war  with 
her.     Let  us  sell  her  to  him. 

The  Guardsmen.     O  subtle  one!     O  serpent! 

Belzanor.  We  dare  not.  We  are  descended  from  the 
gods;  but  Cleopatra  is  descended  from  the  river  Nile;  and  the 
lands  of  our  fathers  will  grow  no  grain  if  the  Nile  rises  not  to 
Vvater  them.  Without  our  father's  gifts  we  should  live  the  lives 
of  dogs. 

Persian.  It  is  true:  the  Queen's  guard  cannot  live  on  its 
pay.     But  hear  me  further,  O  ye  kinsmen  of  Osiris. 

The  Guardsmen.  Speak,  O  subtle  one.  Hear  the  serpent 
begotten! 

Persian.  Have  I  heretofore  spoken  truly  to  you  of  Caesar, 
when  you  thought  I  mocked  you  ? 

Guardsmen.     Truly,  truly. 

Belzanor  (reluctantly  admitting  it).     So  Bel  Affris  says. 

Persian.  Hear  more  of  him,  then.  This  Caesar  is  a 
great  lover  of  women :  he  makes  them  his  friends  and  coun- 
sellors. 


12  Caesar  and  Cleopatra  Act  1 

Belzanor.  Faugh !  This  rule  of  women  will  be  the  ruin  of 
Egypt. 

The  Persian.  Let  it  rather  be  the  ruin  of  Rome!  Caesar 
grows  old  now:  he  is  past  fifty  and  full  of  labors  and  battles. 
He  is  too  old  for  the  young  women;  and  the  old  women  are 
too  wise  to  worship  him. 

Bel  Affris.  Take  heed,  Persian.  Caesar  is  by  this  time 
almost  within  earshot. 

Persian.  Cleopatra  is  not  yet  a  woman:  neither  is  she 
wise.     But  she  already  troubles  men's  wisdom. 

Belzanor.  Ay:  that  is  because  she  is  descended  from  the 
river  Nile  and  a  black  kitten  of  the  sacred  White  Cat.  What 
then? 

Persian.  Why,  sell  her  secretly  to  Ptolemy,  and  then  oflFer 
ourselves  to  Caesar  as  volunteers  to  fight  for  the  overthrow  of 
her  brother  and  the  rescue  of  our  Queen,  the  Great  Grand- 
daughter of  the  Nile. 

The  Guardsmen.     O  serpent! 

Persian.  He  will  listen  to  us  if  we  come  with  her  picture  in 
our  mouths.  He  will  conquer  and  kill  her  brother,  and  reign 
in  Egypt  with  Cleopatra  for  his  Queen.  And  we  shall  be  her 
guard. 

Guardsmen.  O  subtlest  of  all  the  serpents!  O  admira- 
tion!    O  wisdom! 

Bel  Affris.  He  will  also  have  arrived  before  you  have 
done  talking,  O  word  spinner. 

Belzanor.  That  is  true.  (An  affrighted  uproar  in  the 
palace  interrupts  him.)  Quick:  the  flight  has  begun:  guard 
the  door.  {They  rush  to  the  door  and  form  a  cordon  before  it 
vxith  their  spears.  A  mob  of  women-servants  and  nurses  surges 
out.  Those  in  front  recoil  from  the  spears,  screaming  to  those 
behind  to  keep  back.  Belzanor^s  voice  dominates  the  dis- 
turbance as  he  shouts)  Back  there.  In  again,  unprofitable 
cattle. 

The  Guardsmen.     Back,  unprofitable  cattle. 

Belzanor.  Send  us  out  Ftatateeta,  the  Queen's  chief 
nurse. 


Act  I  Caesar  and  Cleopatra  13 

The  Women  (calling  into  the  palace).  Ftatateeta,  Ftata- 
teeta.     Come,  come.     Speak  to  Belzanor. 

A  Woman.  Oh,  keep  back.  You  are  thrusting  me  on  the 
spearheads. 

A  huge  grim  woman,  her  face  covered  wiih  a  network  of 
tiny  wrinkles,  and  her  eyes  old,  large,  and  wise;  sinewy  handed, 
very  tail,  very  strong;  with  the  mouth  of  a  bloodhound  and  the 
jaws  of  a  bulldog,  appears  on  the  threshold.  She  is  dressed 
like  a  person  of  consequence  in  the  palace,  and  confronts  the 
guardsmen  insolently. 

Ftatateeta.    Make  way  for  the  Queen's  chief  nurse. 

Belzanor  (toith  solemn  arrogance).  Ftatateeta:  I  am  Bel- 
zanor, the  captain  of  the  Queen's  guard,  descended  from  the 
gods. 

Ftatateeta  (retorting  his  arrogance  with  interest).  Bel- 
zanor: I  am  Ftatateeta,  the  Queen's  chief  nurse;  and  your 
divine  ancestors  were  proud  to  be  painted  on  the  wall  in  the 
pyramids  of  the  kings  whom  my  fathers  served. 

The  women  laugh  triumphantly. 

Belzanor  (vrith  grim  humor).  Ftatateeta:  daughter  of  a 
long-tongued,  swivel-eyed  chameleon,  the  Romans  are  at 
hand.  (A  cry  of  terror  from  the  women:  they  would  fly  bvi 
for  the  spears^  Not  even  the  descendants  of  the  gods  can 
resist  them;  for  they  have  each  man  seven  anns,  each  carrying 
seven  spears.  The  blood  in  their  veins  is  boiling  quicksilver; 
and  their  wives  become  mothers  in  three  hours,  and  are  slain 
and  eaten  the  next  day. 

A  shudder  of  horror  from  the  women.  Ftatateeta,  despising 
them  and  scorning  the  soldiers,  pushes  her  way  through  the 
crowd  and  confronts  the  spear  points  undismayed. 

Ftatateeta.  Then  fly  and  save  yourselves,  O  cowardly 
sons  of  the  cheap  clay  gods  that  are  sold  to  fish  porters;  and 
leave  us  to  shift  for  ourselves. 

Belzanor.     Not  until  you  have  first  done  our  bidding,  O 
terror  of  manhood.     Bring  out  Cleopatra  the  Queen  to  us 
and  then  go  whither  you  will. 

Ftatateeta  (with  a  derisive  laugh).    Now  I  know  why 


14  Csesar  and  Cleopatra  Act  I 

the  gods  have  taken  her  out  of  our  hands.  {The  gtmrdsmen 
start  and  look  at  one  another.)  Know,  thou  foolish  soldier, 
that  the  Queen  has  been  missing  since  an  hour  past  sun  down. 

Belzanor  (Juriovdy).  Hag;  you  have  hidden  her  to  sell 
to  Ceesar  or  her  brother.  {He  grasps  her  by  the  left  wrist, 
and  drags  her,  helped  by  a  few  of  the  guard,  to  the  middle  of 
the  courtyard,  where,  as  they  fling  her  on  her  knees,  he  draws 
a  murderous  looking  knife.)  Where  is  she?  Where  is  she? 
or —    {He  threatens  to  cut  her  throat.) 

Ftatateeta  {savagely).  Touch  me,  dog;  and  the  Nile 
will  not  rise  on  your  fields  for  seven  times  seven  years  of 
famine. 

Belzanor  (frightened,  but  desperate).  I  will  sacrifice:  I 
will  pay.  Or  stay.  {To  the  Persian)  You,  O  subtle  one: 
your  father's  lands  lie  far  from  the  Nile.     Slay  her. 

Persian  {threatening  her  with  his  knife).  Persia  has  but 
one  god;  yet  he  loves  the  blood  of  old  women.  Where  is 
Cleopatra  ? 

Ftatateeta.  Persian:  as  Osiris  lives,  I  do  not  know. 
I  chid  her  for  bringing  evil  days  upon  us  by  talking  to  the 
sacred  cats  of  the  priests,  and  carrying  them  in  her  arms. 
I  told  her  she  would  be  left  alone  here  when  the  Romans 
came  as  a  punishment  for  her  disobedience.  And  now  she 
is  gone — run  away — hidden.  I  speak  the  truth.  I  call 
Osiris  to  witness 

The  Women  {protesting  officiously).  She  speaks  the  truth, 
Belzanor. 

Belzanor.  You  have  frightened  the  child:  she  is  hiding. 
Search — quick — into  the  palace — search  every  comer. 

The  guards,  led  by  Belzanor,  shoulder  their  way  into  the 
palace  through  the  flying  crowd  of  women,  who  escape  through 
the  courtyard  gate. 

Ftatateeta  {screaming).  Sacrilege!  Men  in  the  Queen's 
chambers!  Sa —  {Her  voice  dies  away  as  the  Persian  puts 
his  knife  to  her  throat.) 

Bel  Affris  {laying  a  hand  on  Ftatateeta* s  left  shmtlder). 
Forbear  her  yet  a  moment,  Persian.     {To  Ftatateeta,  very 


Act  I  Csesar  and  Cleopatra  15 

ngnificatitly)  Mother:  your  gods  are  asleep  or  away  hunt- 
ing; and  the  sword  is  at  your  throat.  Bring  us  to  where  the 
Queen  is  hid,  and  you  shall  live. 

Ftatatebta  (contemptuously).  Who  shall  stay  the  sword 
in  the  hand  of  a  fool,  if  the  high  gods  put  it  there?  Listen 
to  me,  ye  young  men  without  understanding.  Cleopatra 
fears  me;  but  she  fears  the  Romans  more.  There  is  but  one 
power  greater  in  her  eyes  than  the  wrath  of  the  Queen's 
nurse  and  the  cruelty  of  Caesar;  and  that  is  the  power  of  the 
Sphinx  that  sits  in  the  desert  watching  the  way  to  the  sea. 
What  she  would  have  it  know,  she  tells  into  the  ears  of  the 
sacred  cats;  and  on  her  birthday  she  sacrifices  to  it  and  decks 
it  with  poppies.  Go  ye  therefore  into  the  desert  and  seek 
Cleopatra  in  the  shadow  of  the  Sphinx;  and  on  your  heads 
see  to  it  that  no  harm  comes  to  her. 

Bel  Affris  (to  the  Persian).  May  we  believe  this,  O  subtle 
one? 

Persian.     Which  way  come  the  Romans? 

Bel  Affris.  Over  the  desert,  from  the  sea,  by  this  very 
Sphinx. 

Persian  (to  Ftatateeta).  O  mother  of  guile!  O  aspic's 
tongue!  You  have  made  up  this  tale  so  that  we  two  may  go 
into  the  desert  and  perish  on  the  spears  of  the  Romans. 
(Lifting  his  knife)     Taste  death. 

Ftatateeta.  Not  from  thee,  baby.  (She  snatches  his 
ankle  from  under  him  and  flies  stooping  along  the  palace  wall, 
vanishing  in  the  darJcness  within  its  precinct.  Bel  Affris 
roars  with  laughter  as  the  Persian  tumbles.  The  guardsmen 
rush  out  of  the  palace  with  Belzanor  and  a  mob  of  fugitives, 
mostly  carrying  bundles.) 

Persian.     Have  you  found  Cleopatra? 

Belzanor.     She  is  gone.     We  have  searched  every  comer. 

The  Nubian  Sentinel  (appearing  at  the  door  of  the  palace). 
Woe!    Alas!    Fly,  fly! 

Belzanor.     What  is  the  matter  now? 

The  Nubian  Sentinel.  The  sacred  white  cat  has  been 
stolen. 


16  Caesar  and  Cleopatra  Act  I 

All.  Woe!  Woe!  (General  panic.  They  all  fly  vnih 
cries  of  consternation.  The  torch  is  thrown  down  and  extin- 
guished in  the  rush.  Darkness.  The  noise  of  the  fugitives 
dies  away.  Dead  silence.  Suspense.  Then  the  blackness 
and  stillness  breaks  softly  into  silver  mist  and  strange  airs  as 
the  windswept  harp  of  Memnon  plays  at  the  dawning  of  the 
moon.  It  rises  full  over  the  desert;  and  a  vast  horizon  comes 
into  relief,  broken  by  a  huge  shape  which  soon  reveals  itself 
in  the  spreading  radiance  as  a  Sphinx  pedestaRed  on  the 
sands.  The  light  still  clears,  until  the  upraised  eyes  of  the 
image  are  distinguished  looking  straight  forward  and  upward 
in  infinite  fearless  vigil,  and  a  mass  of  color  between  its  great 
paws  defines  itself  as  a  heap  of  red  poppies  on  which  a  girl 
lies  motionless,  her  silken  vest  heaving  gently  and  regularly 
with  the  breathing  of  a  dreamless  sleeper,  and  her  braided  hair 
glittering  in  a  shaft  of  moonlight  like  a  bird's  wing. 

Suddenly  there  comes  from  afar  a  vaguely  fearful  sound  (it 
might  be  the  bellow  of  a  Minotaur  softened  by  great  distance)  and 
Memnon's  music  stops.  Silence:  then  a  few  faint  high-ringing 
trumpet  notes.  Then  silence  again.  Then  a  man  comes  from 
the  south  with  stealing  steps,  ravished  by  the  mystery  of  the 
night,  all  wonder,  and  halts,  lost  in  contemplation,  opposite  the 
left  flank  of  the  Sphinx,  whose  bosom,  with  its  burden,  is  hidden 
from  him  by  its  massive  shoulder^ 

The  Man.  Hail,  Spliinx:  salutation  from  Julius  Caesar! 
I  have  wandered  in  many  lands,  seeking  the  lost  regions 
from  which  my  birth  into  this  world  exiled  me,  and  the  com- 
pany of  creatures  such  as  I  myself.  I  have  found  flocks  and 
pastures,  men  and  cities,  but  no  other  Caesar,  no  air  native  to 
me,  no  man  kindred  to  me,  none  who  can  do  my  day's  deed, 
and  think  my  night's  thought.  In  the  little  world  yonder. 
Sphinx,  my  place  is  as  high  as  yours  in  this  great  desert;  only  I 
wander,  and  you  sit  still;  I  conquer,  and  you  endure;  I  work 
and  wonder,  you  watch  and  wait;  I  look  up  and  am  dazzled, 
look  down  and  am  darkened,  look  round  and  am  puzzled, 
whilst  your  eyes  never  turn  from  looking  out — out  of  the 


Act  I  Cffisar  and  Cleopatra  17 

world — to  the  lost  region — the  home  from  which  we  have 
strayed.  Sphinx,  you  and  I,  strangers  to  the  race  of  men,  are 
no  strangers  to  one  another:  have  I  not  been  conscious  of  you 
and  of  this  place  since  I  was  bom?  Rome  is  a  madman's 
dream :  this  is  my  Reality.  These  starry  lamps  of  yours  I  have 
seen  from  afar  in  Gaul,  in  Britain,  in  Spain,  in  Thessaly,  sig- 
nalling great  secrets  to  some  eternal  sentinel  below,  whose  post  I 
never  could  find.  And  here  at  last  is  their  sentinel — an  image 
of  the  constant  and  immortal  part  of  my  Ufe,  silent,  full  of 
thoughts,  alone  in  the  silver  desert.  Sphinx,  Sphinx:  I  have 
climbed  mountains  at  night  to  hear  in  the  distance  the  stealthy 
footfall  of  the  winds  that  chase  your  sands  in  forbidden  play — 
our  invisible  children,  O  Sphinx,  laughing  in  whispers.  My 
way  hither  was  the  way  of  destiny;  for  I  am  he  of  whose  genius 
you  are  the  symbol :  part  brute,  part  woman,  and  part  God — 
nothing  of  man  in  me  at  all.     Have  T  read  your  riddle.  Sphinx  ? 

The  Girl  (ivho  has  wakened,  and  peeped  cautiously  from 
her  nest  to  see  who  is  speaking).     Old  gentleman. 

C^SAR  {starting  violently,  and  clutching  his  sword).  Im- 
mortal gods! 

The  Girl.     Old  gentleman:  don't  run  away. 

Cesar  {stupefied).  "Old  gentleman:  don't  run  away!!!" 
This!  to  Julius  Caesar! 

The  Girl  {urgently).     Old  gentleman. 

C^SAR.  Sphinx:  you  presume  on  your  centuries.  I  am 
younger  than  you,  tiiough  your  voice  is  but  a  girl's  voice 
as  yet. 

The  Girl.  Climb  up  here,  quickly;  or  the  Romans  will 
come  and  eat  you. 

C/ESAR  {running  fonvard  past  the  Sphinxes  shoulder,  and  see- 
ing her).     A  child  at  its  breast!    a  divine  child! 

The  Girl.  Come  up  quickly.  You  must  get  up  at  its 
side  and  creep  round. 

C^SAR  {amazed).     Who  are  you? 

The  Girl.     Cleopatra,  Queen  of  Egypt. 

Cesar.     Queen  of  the  Gypsies,  you  mean. 

Cleopatra.    You  must  not  be  disrespectful  to  me,  or  the 


18  Cassar  and  Cleopatra  Act  I 

Sphinx  will  let  the  Romans  eat  you.  Come  up.  It  is  quite 
cosy  here. 

C^SAK  (to  himself).  What  a  dream!  What  a  magnificent 
dream!  Only  let  me  not  wake,  and  I  will  conquer  ten  conti- 
nents to  pay  for  dreaming  it  out  to  the  end.  (He  climbs  to  the 
Sphinx's  flank,  and  presently  reappears  to  her  on  the  pedestal, 
stepping  round  its  right  shoulder.) 

Cleopatra.  Take  care.  That's  right.  Now  sit  down: 
you  may  have  its  other  paw.  (She  sexits  herself  comfortably  on 
its  left  paw.)  It  is  very  powerful  and  will  protect  us;  but 
(shivering,  and  with  plaintive  loneliness)  it  would  not  take  any 
notice  of  me  or  keep  me  company.  I  am  glad  you  have  come : 
I  was  very  lonely.  Did  you  happen  to  see  a  white  cat  any- 
where ? 

CAESAR  (sitting  slowly  down  on  the  right  paw  in  extreme  won- 
derment).    Have  you  lost  one? 

Cleopatra.  Yes:  the  sacred  white  cat:  is  it  not  dreadful? 
I  brought  him  here  to  sacrifice  him  to  the  Sphinx;  but  when  we 
got  a  little  way  from  the  city  a  black  cat  called  him,  and  he 
jumped  out  of  my  arms  and  ran  away  to  it.  Do  you  think  that 
the  black  cat  can  have  been  my  great-great-great-grand- 
mother? 

Cesar  (staring  at  her).  Your  great-great-great-grand- 
mother! Well,  why  not?  Nothing  would  surprise  me  on  this 
night  of  nights. 

Cleopatra.  I  think  it  must  have  been.  My  great-grand- 
mother's great-grandmother  was  a  black  kitten  of  the  sacred 
white  cat;  and  the  river  Nile  made  her  his  seventh  wife.  That 
is  why  my  hair  is  so  wa\'y.  And  I  always  want  to  be  let  do  as 
I  like,  no  matter  whether  it  is  the  will  of  the  gods  or  not:  that 
is  because  my  blood  is  made  with  Nile  water. 

Cesar.  What  are  you  doing  here  at  this  time  of  night? 
Do  you  live  here  ? 

Cleopatra.  Of  course  not:  I  am  the  Queen;  and  I  shall 
LVe  in  the  palace  at  Alexandria  when  I  have  killed  my  brother, 
who  drove  me  out  of  it.  When  I  am  old  enough  I  shall  do  just 
what  I  like.    I  shall  be  able  to  poison  the  slaves  and  see  them 


Act  I  Caesar  and  Cleopatra  19 

wriggle,  and  pretend  to  Ftatateeta  that  she  is  going  to  be  put 
into  the  fiery  furnace. 

C^SAB.  Hm !  Meanwhile  why  are  you  not  at  home  and 
in  bed? 

Cleopatra.  Because  the  Romans  are  coming  to  eat  us  all. 
You  are  not  at  home  and  in  bed  either. 

CiESAB  (with  conviction).  Yes  I  am.  I  live  in  a  tent;  and 
I  am  now  in  that  tent,  fast  asleep  and  dreaming.  Do  you  sup- 
pose that  I  believe  you  are  real,  you  impossible  Uttle  dream 
witch? 

Cleopatra  (giggling  and  leaning  trustfully  towards  him). 
You  are  a  funny  old  gentleman.     I  Uke  you. 

C^SAR.  Ah,  that  spoils  the  dream.  Why  don't  you  dream 
that  I  am  young? 

Cleopatra.  I  wish  you  were ;  only  I  think  I  should  be  more 
afraid  of  you.  I  like  men,  especially  young  men  with  round 
strong  arms;  but  I  am  afraid  of  them.  You  are  old  and  rather 
thin  and  stringy;  but  you  have  a  nice  voice;  and  I  like  to  have 
somebody  to  talk  to,  though  I  think  you  are  a  little  mad.  It  is 
the  moon  that  makes  you  talk  to  yourself  in  that  silly  way. 

CiESAR.  What!  you  heard  that,  did  you  ?  I  was  saying  my 
prayers  to  the  great  Sphinx. 

Cleopatra.     But  this  isn't  the  great  Sphinx. 

CAESAR  (muxih  disappointed,  looking  up  at  the  staiue).   What! 

Cleopatra.  This  is  only  a  dear  little  kitten  of  tlie  Sphinx. 
Why,  the  great  Sphinx  is  so  big  that  it  has  a  temple  between 
its  paws.  This  is  my  pet  Sphinx.  Tell  me :  do  you  think  the 
Romans  have  any  sorcerers  who  could  take  us  away  from  the 
Sphinx  by  magic  ? 

C^SAR.     Why?    Are  you  afraid  of  the  Romans? 

Cleopatra  (very  seriously).  Oh,  they  would  eat  us  if  they 
caught  us.  They  are  barbarians.  Their  chief  is  called  Julius 
Caesar.  His  father  was  a  tiger  and  his  mother  a  burning 
mountain;  and  his  nose  is  like  an  elephant's  trunk.  (Ccesar 
involuntarily  rubs  his  nose.)  They  all  have  long  noses,  and 
ivory  tusks,  and  little  tails,  and  seven  arms  with  a  hundred 
arrows  in  each;  and  they  live  on  human  flesh. 


20  Caesar  and  Cleopatra  Act  I 

C^SAR.     Would  you  like  me  to  show  you  a  real  Roman  ? 

Cleopatra  (terrified).     No.    You  are  frightening  me. 

CiESAR.     No  matter:  this  is  only  a  dream 

Cleopatra  (excitedly).  It  is  not  a  dream:  it  is  not  a 
dream.  See,  see.  (She  plucks  a  pin  from  her  hair  and  jaba  it 
repeatedly  into  his  arm.) 

C^SAR.     Ffff — Stop.     (Wrathftdly)     How  dare  you? 

Cleopatra  (abashed).  You  said  you  were  dreaming. 
(Whimpering)  I  only  wanted  to  shew  you 

CiESAR  (gently) .  Come,  come :  don't  cry.  A  queen  mustn't 
cry.  (He  rubs  his  arm,  wondering  at  the  reality  of  the  smart.) 
Am  I  awake?  (He  strikes  his  hand  against  the  Sphinx  to  test 
its  solidity.  It  feels  so  real  that  he  begins  to  be  alarmed,  and 
says  perplexedly)  Yes,  I — (quite  panicstricken)  no:  impos- 
sible: madness,  madness!  (Desperately)  Back  to  camp — 
to  camp.     (He  rises  to  spring  down  from  the  pedestal.) 

Cleopatra  (flinging  her  arms  in  terror  round  him).  No: 
you  shan't  leave  me.  No,  no,  no:  don't  go.  I'm  afraid — 
afraid  of  the  Romans. 

CiESAR  (as  the  conviction  that  he  is  really  awake  forces 
itself  on  him).     Cleopatra:  can  you  see  my  face  well? 

Cleopatra.     Yes.     It  is  so  white  in  the  moonlight. 

C^SAR.  Are  you  sure  it  is  the  moonlight  that  makes  me 
look  whiter  than  an  Egyptian?  (Grimly)  Do  you  notice 
that  I  have  a  rather  long  nose  ? 

Cleopatra  (recoiling,  paralyzed  by  a  terrible  suspicion). 
Oh! 

C^SAR.     It  is  a  Roman  nose,  Cleopatra. 

Cleopatra.  Ah !  (With  a  piercing  scream  she  springs  up; 
darts  round  the  left  shoulder  of  the  Sphinx;  scrambles  down 
to  the  sand;  and  falls  on  her  knees  in  frantic  supplication, 
shrieking)  Bite  him  in  two.  Sphinx:  bite  him  in  two.  I 
meant  to  sacrifice  the  white  cat — I  did  indeed — I  (Caesar, 
who  has  slipped  down  from  the  pedestal,  touches  her  on  the 
shoulder)  Ah!     (She  buries  her  head  in  her  arms.) 

CiESAR.  Cleopatra:  shall  I  teach  you  a  way  to  prevent 
Caesar  from  eating  you  P 


Act  I  Cffisar  and  Cleopatra  21 

Cleopatra  (clinging  to  him  piteously).  Oh  do,  do,  do. 
I  will  steal  Ftatateeta's  jewels  and  give  them  to  you.  I  will 
make  the  river  Nile  water  your  lands  twice  a  year. 

C^SAR.  Peace,  peace,  my  child.  Your  gods  are  afraid 
of  the  Romans:  you  see  the  Sphinx  dare  not  bite  me,  nor 
prevent  me  carrying  you  off  to  Julius  Caesar. 

Cleopatra  {in  'pleading  murmurings).  You  won't,  you 
won't.     You  said  you  wouldn't. 

CiESAR.     Csesar  never  eats  women. 

Cleopatra  (springing  up  full  of  hope).     What! 

C/ESAR  (impressively).  But  he  eats  girls  (she  relapses)  and 
cats.  Now  you  are  a  silly  little  girl;  and  you  are  descended 
from  the  black  kitten.     You  are  both  a  girl  and  a  cat. 

Cleopatra  (trembling).     And  will  he  eat  me  ? 

C^SAR.  Yes;  unless  you  make  him  believe  that  you  are  a 
woman. 

Cleopatra.  Oh,  you  must  get  a  sorcerer  to  make  a 
woman  of  me.     Are  you  a  sorcerer  ? 

C^SAR.  Perhaps.  But  it  will  take  a  long  time;  and  this 
very  night  you  must  stand  face  to  face  wiik  Csesar  in  the 
palace  of  your  fathers. 

Cleopatra.     No,  no.     I  daren't. 

Cesar.  Whatever  dread  may  be  in  your  soul — ^howevet 
terrible  Csesar  may  be  to  you — ^you  must  confront  him  as 
a  brave  woman  and  a  great  queen;  and  you  must  feel  no 
fear.  If  your  hand  shakes:  if  your  voice  quavers;  then — 
night  and  death !  (She  moans.)  But  if  he  thinks  you  worthy 
to  rule,  he  will  set  you  on  the  throne  by  his  side  and  make 
you  the  real  ruler  of  Egypt. 

Cleopatra  (despairingly).  No:  he  will  find  me  out:  he 
will  find  me  out. 

C^sAR  (rather  mxnimfvlly).  He  is  easily  deceived  by 
women.  Their  eyes  dazzle  him;  and  he  sees  them  not  as 
they  are,  but  as  he  wishes  them  to  appear  to  him. 

Cleopatra  {hopefully).  Then  we  will  cheat  him.  I  will 
put  on  Ftatateeta's  head-dress;  and  he  will  think  me  quite 
an  old  woman. 


22  Caesar  and  Cleopatra  Act  I 

Cjesar.     If  you  do  that  he  will  eat  you  at  one  mouthful. 

Cleopatra.  But  I  will  give  him  a  cake  with  my  magic 
opal  and  seven  hairs  of  the  white  cat  baked  in  it;  and 

Cjehau  (abruptly).  Pah!  you  are  a  little  fool.  He  will 
eat  your  cake  and  you  too.  (He  tvms  contemptuously  from  her.) 

Cleopatra  (running  aper  him  and  clinging  to  him).  Oh, 
please,  please!  I  will  do  whatever  you  tell  me.  I  will 
be  good!  I  will  be  your  slave.  (Again  the  terrible  bellowing 
note  sounds  across  the  desert,  now  closer  at  hand.  It  is  the 
bucina,  the  Roman  war  trumpet.) 

Cesar.     Hark ! 

Cleopatra  (trembling).     What  was  that? 

CiESAR.     Caesar's  voice. 

Cleopatra  (pulling  at  his  hand).  I^et  us  run  away. 
Come.     Oh,  come. 

CiESAR.  You  are  safe  with  me  until  you  stand  on  your 
throne  to  receive  Caesar.     Now  lead  me  thither. 

Cleopatra  (only  too  glad  to  get  away).  I  will,  I  will. 
(Again  the  bucina.)  Oh,  come,  come,  come:  the  gods  are 
angry.     Do  you  feel  the  earth  shaking? 

C^SAR.     It  is  the  tread  of  Caesar's  legions. 

Cleopatra  (dratving  him  away).  This  way,  quickly. 
And  let  us  look  for  the  white  cat  as  we  go.  It  is  he  that  has 
turned  you  into  a  Roman. 

C^SAR.  Incorrigible,  oh,  incorrigible!  Away!  (He  fol- 
lows her,  the  bucina  sounding  louder  as  they  steal  across  the 
desert.  The  moonlight  wanes:  the  horizon  again  shows  black 
against  the  sky,  broken  only  by  the  fantastic  silhouette  of  the 
Sphinx.  The  sky  itself  vanishes  in  darkness,  from  which 
there  is  no  relief  until  the  gleam  of  a  distant  torch  falls  on 
great  Egyptian  pillars  supporting  the  roof  of  a  majestic  corri- 
dor. At  the  further  etui  of  this  corridor  a  Nubian  slave  ap- 
pears carrying  the  torch.  Caesar,  still  led  by  Cleopatra,  follows 
him.  They  'ome  down  the  corridor,  Caesar  peering  keenly 
about  at  the  .strange  architecture,  and  at  the  pillar  shadows 
between  which,  as  the  passing  torch  makes  them  hurry  noise- 
lessly backwards,  figures  of  men  with  wings  and  hawks*  heads y 


Act  I  Cassar  and  Cleopatra  23' 

and  vast  black  marble  cats,  seem  to  flit  in  and  out  of  ambush. 
Further  along,  the  wall  turns  a  comer  and  makes  a  spacious 
transept  in  which  Ccesar  sees,  on  his  right,  a  throne,  and 
behind  the  throne  a  door.  On  each  side  of  the  throne  is  a 
slender  pillar  with  a  lamp  on  it.) 

CAESAR.    What  place  is  this? 

Cleopatra.  This  is  where  I  sit  on  the  throne  when  I  am 
allowed  to  wear  my  crown  and  robes.  (The  slave  holds  his 
torch  to  she^o  the  throne.) 

C^SAR.     Order  the  slave  to  light  the  lamps. 

Cleopatra  (shyly).     Do  you  think  I  may? 

Cesar.  Of  course.  You  are  the  Queen.  (She  hesitates.) 
Go  on. 

Cleopatra  (timidly,  to  the  slave).     Light  all  the  lamps. 

Ftatateeta  (suddenly  coming  from  behind  the  throne). 
Stop.  (The  slave  stops.  She  turns  sternly  to  Cleopatra,  who 
quails  like  a  naughty  child.)  Who  is  this  you  have  with  you; 
and  how  dare  you  order  the  lamps  to  be  lighted  without  my 
permission  ?     (Cleopatra  is  dumb  with  apprehension^ 

Cesar.    Who  is  she? 

Cleopatra.    Ftatateeta. 

Ftatateeta  (arrogantly).    Chief  nurse  to 

CiESAR  (cutting  her  sliort).  I  speak  to  the  Queen.  Be 
silent.  (To  Cleopatra)  Is  this  how  your  servants  know 
their  places?  Send  her  away;  and  do  you  (to  the  slave)  do  as 
the  Queen  has  bidden.  (The  slave  lights  the  lamps.  Mean- 
while Cleopatra  stands  hesitating,  afraid  of  Ftatateeta^  You 
are  the  Queen :  send  her  away. 

Cleopatra  (cajoling).  Ftatateeta,  dear:  you  must  go 
away — ^just  for  a  little. 

C-ESAR.  You  are  not  commanding  her  to  go  away:  you 
are  begging  her.  You  are  no  Queen.  You  will  be  eaten. 
Farewell.     (He  turns  to  go.) 

Cleopatra  (clutching  him).  No,  no,  no.  Don't  leave 
me. 

C/ESAR.  A  Roman  does  not  stay  with  queens  who  are 
afraid  of  their  slaves. 


24  Caesar  and  Cleopatra  Act  1 

Cleopatra.    I  am  not  afraid.    Indeed  I  am  not  afraid. 

Ftatateeta.  We  shall  see  who  is  afraid  here.  {Mena- 
cingly) Cleopatra 

C^ESAB.  On  your  knees,  woman :  am  I  also  a  child  that  you 
dare  trifle  with  me  ?  {He  points  to  the  floor  at  Cleopatra's  feet. 
Ftatateeta,  half  cowed,  half  savage,  hesitates.  Ccesar  calls  to 
the  Nubian)  Slave.  {The  Nubian  comes  to  him.)  Can  you 
cut  ofiF  a  head  ?  (  The  Nubian  nods  and  grins  ecstatically,  show- 
ing all  his  teeth.  Ccesar  takes  his  sword  by  the  scabbard,  ready 
to  offer  the  hilt  to  the  Nubian,  and  turns  again  to  Ftatateeta,  re- 
peating his  gesture.)   Have  you  remembered  yourself,  mistress  ? 

Ftatateeta,  crushed,  kneels  before  Cleopatra,  who  can  hardly 
helieve  her  eyes. 

Ftatateeta  {hoarsely).  O  Queen,  forget  not  thy  servant 
in  the  days  of  thy  greatness. 

Cleopatra  {blazing  with  excitement).  Go.  Begone.  Go 
away.  {Ftatateeta  rises  with  stooped  head,  and  moves  back- 
wards towards  the  door.  Cleopatra  watches  her  submission 
eagerly,  almost  clapping  her  hands,  which  are  trembling.  Sud- 
denly she  cries)  Give  me  something  to  beat  her  with.  {She 
snatches  a  snake-skin  from  the  throne  and  dashes  after  Ftata- 
teeta, whirling  it  like  a  scourge  in  the  air.  Ccesar  makes  a 
bound  and  manages  to  catch  her  and  hold  her  while  Ftatateeta 
escapes.) 

C^SAR.    You  scratch,  kitten,  do  you? 

Cleopatra  {breaking  from  him).  I  will  beat  somebody. 
I  will  beat  him.  {She  attacks  the  slave.)  There,  there, 
there !  (  The  slave  flies  for  his  life  up  the  corridor  and  vanishes. 
She  throws  the  snake-skin  away  and  jumps  on  the  step  of  the 
throne  with  her  arms  waving,  crying)  I  am  a  real  Queen  at 
last — a  real,  real  Queen!  Cleopatra  the  Queen!  {Ccesar 
shakes  his  head  dubiously,  the  advantage  of  the  change  seeming 
open  to  question  from  the  point  of  view  of  the  general  welfare  of 
Egypt.  She  turns  and  looks  at  him  exultantly.  Then  she 
jumps  down  from  the  step,  runs  to  him,  and  flings  her  arms 
round  him  rapturously,  crying)  Oh,  I  love  you  for  making  me 
a  Queen. 


Act  1  Cassar  and  Cleopatra  23 

CAESAR.     But  queens  love  only  kings. 

Cleopatra.  I  will  make  all  the  men  I  love  kings.  I  will 
make  you  a  king.  I  will  have  many  young  kings,  with  round, 
strong  arms;  and  when  I  am  tired  of  them  I  will  whip  them  to 
death;  but  you  shall  always  be  my  king:  my  nice,  kind,  wise, 
good  old  king. 

C^SAR.  Oh,  my  wrinkles,  my  wrinkles!  And  my  child's 
heart!  You  will  be  the  most  dangerous  of  all  Csesar's  con- 
quests. 

Cleopatra  (appalled).  Caesar!  I  forgot  Csesar.  (Anx- 
iously) You  will  tell  him  that  I  am  a  Queen,  will  you  not  ? — 
a  real  Queen.  Listen !  (stealthily  coaxing  him)  let  us  run  away 
and  hide  until  Csesar  is  gone. 

C^SAR.  If  you  fear  Caesar,  you  are  no  true  Queen;  and 
though  you  were  to  hide  beneath  a  pyramid,  he  would  go 
straight  to  it  and  lift  it  with  one  hand.  And  then — !  (He 
chops  his  teeth  together.) 

Cleopatra  (trembling).     Oh! 

CiESAR.  Be  afraid  if  you  dare.  (The  note  of  the  hucina 
resounds  again  in  the  distance.  She  moans  vrith  fear.  Coesar 
exidts  in  it,  exclaiming)  Aha!  Caesar  approaches  the  throne 
of  Cleopatra.  Come:  take  your  place.  (He  takes  her  hand 
and  leads  her  to  the  throne.  She  is  too  downcast  to  speak.)  Ho, 
there,  Teetatota.     How  do  you  call  your  slaves  ? 

Cleopatra  (spiritlessly,  as  she  sinks  on  the  throne  and  cowers 
there,  shaking).     Clap  your  hands. 

He  daps  his  hands.     Ftaiateeta  returns. 

CAESAR.  Bring  the  Queen's  robes,  and  her  crown,  and  her 
women;  and  prepare  her. 

Cleopatra  (eagerly — recovering  herself  a  litHe).  Yes,  the 
crown,  Ftatateeta:  I  shall  wear  the  crown. 

Ftatateeta.    For  whom  must  the  Queen  put  on  her  state  ? 

C^sAR.  For  a  citizen  of  Rome.  A  king  of  kings,  Tota- 
teeta. 

Cleopatra  (stamping  at  her).  How  dare  you  ask  ques- 
tions ?  Go  and  do  as  you  are  told.  (Ftatateeta  goes  out  with 
a  grim  smile.     Cleopatra  goes  on  eagerly,  to  Caesar)  Csesar 


SfG  Cassar  and  Cleopatra  Act  I 

will  know  that  I  am  a  Queen  when  he  sees  my  crown  and 
robes,  wiU  he  not? 

CiESAE.  No.  How  shall  he  know  that  you  are  not  a  slave 
dressed  up  in  the  Queen's  ornaments? 

Cleopatra.     You  must  tell  him. 

C^SAR.  He  will  not  ask  me.  He  will  know  Cleopatra  by 
her  pride,  her  courage,  her  majesty,  and  her  beauty.  {She 
looks  very  doubtful.)     Are  you  trembUng? 

Cleopatra  (shivering  with  dread).  No,  I — I — (in  a  very 
sickly  voice)  No. 

Ftatateeta  and  three  women  come  in  with  the  regalia. 

Ftatateeta.  Of  all  the  Queen's  women,  these  three  alone 
are  left.  The  rest  are  fled.  (They  begin  to  deck  Cleopatra, 
who  submits,  pale  and  motionless.) 

CiESAR.  Good,  good.  Three  are  enough.  Poor  Csesar 
generally  has  to  dress  himself. 

Ftatateeta  (contemptuously).  The  Queen  of  Egypt  is  not 
a  Roman  barbarian.  (To  Cleopatra)  Be  brave,  my  nurs- 
ling.   Hold  up  your  head  before  this  stranger. 

CjESar  (admiring  Cleopatra,  and  placing  the  crown  on  her 
head) .     Is  it  sweet  or  bitter  to  be  a  Queen,  Cleopatra  ? 

Cleopatra.    Bitter. 

CiESAR.  Cast  out  fear ;  and  you  will  conquer  Caesar.  Tota : 
are  the  Romans  at  hand  ? 

Ftatateeta,    They  are  at  hand;  and  the  guard  has  fled. 

The  Women  (wailing  subduedly).    Woe  to  us! 

The  Nubian  comes  running  down  the  hall. 

Nubian.  The  Romans  are  in  the  courtyard.  (He  bolts 
throiigh  the  door.  With  a  shriek,  the  women  fly  after  him. 
Ftatateeta's  jaw  expresses  savage  resobdion:  she  docs  not  budge. 
Cleopatra  can  hardly  restrain  herself  from  following  them. 
CcBsar  grips  her  wrist,  and  looks  steadfastly  at  her.  She  stands 
like  a  martyr.) 

Cjesar.  The  Queen  must  face  Csesar  alone.  Answer 
"So  be  it." 

Cleopatra  (white).    So  be  it. 

C.£SAB  (releasing  her).     Good. 


Act  I  Csesar  and  Cleopatra  27 

A  tramp  and  tum/ult  of  armed  men  is  heard.  Cleopatra's 
terror  increases.  The  bucina  sounds  close  at  hand,  followed  by 
a  formidable  clangor  of  trumpets.  This  is  too  much  for  Cleo- 
patra: she  utters  a  cry  and  darts  towards  the  door.  Ftatateeta 
stops  her  ruthlessly. 

Ftatateeta.  You  are  my  nursling.  You  have  said  "So 
be  it";  and  if  you  die  for  it,  you  must  make  the  Queen's  word 
good.  (She  hands  Cleopatra  to  CcEsar,  who  takes  her  back, 
almost  beside  herself  with  apprehensiyn,  to  the  throne.) 

Cesar.  Now,  if  you  quail — !  {He  seats  himself  on  the 
throne.) 

She  stands  on  the  step,  all  bid  unconscioujt,  waiting  for  death. 
The  Roman  soldiers  troop  in  tumtdtumisly  through  the  corridor, 
headed  by  their  ensign  with  his  eagle,  and  their  Imcinator,  a  burly 
fellow  with  his  instrument  coiled  round  his  body,  its  brazen  bell 
shaped  like  the  head  of  a  howling  wolf.  When  they  reach  the 
transept,  they  stare  in  amazement  at  the  throne;  dress  into  or- 
dered rank  opposite  it;  draw  their  sxvords  and  lift  them  in  the 
air  with  a  shout  of  Hail,  Caesar.  Cleopatra  turns  and 
stares  wildly  at  Ccesar;  grasps  the  situation;  and,  unth  a  great 
sob  of  relief,  falls  into  his  arms. 

£ND  OF  ACT  X. 


ACT  n 

Alexandria.  A  haU  on  the  first  floor  of  the  Palace,  ending 
in  a  loggia  approached  by  two  steps.  Through  the  arches  of 
the  loggia  the  Mediterranean  can  be  seen,  bright  in  the  morning 
sun.  The  clean  lofty  walls,  painted  with  a  procession  of  the 
Egyptian  theocracy,  presented  in  profile  as  flat  ornament, 
and  the  absence  of  mirrors,  sham  perspectives,  stuffy  upholstery 
and  textiles,  make  the  place  handsome,  wholesome,  simple 
and  cool,  or,  as  a  rich  English  manufacturer  would  express 
it,  poor,  bare,  ridiculous  and  unhomely.  For  Tottenham 
Court  Road  civilization  is  to  this  Egyptian  civilization  as 
glass  bead  and  tattoo  civilization  is  to  Tottenham  Court  Road. 

The  young  king  Ptolemy  Dionysus  (aged  ten)  is  at  the  top 
of  the  steps,  on  his  way  in  through  the  loggia,  led  by  his  guar- 
dian Pothinus,  who  has  him  by  the  hand.  The  court  is  as- 
sembled to  receive  him.  It  is  made  up  of  men  and  women 
{some  of  the  women  being  officials)  of  various  complexions  and 
races,  mostly  Egyptian;  some  of  them,  comparatively  fair, 
from  lower  Egypt;  some,  mtich  darker,  from  upper  Egypt; 
with  a  few  Greeks  and  Jews.  Prominent  in  a  group  on 
Ptolemy's  right  hand  is  Theodotus,  Ptolemy's  tutor.  Another 
group,  on  Ptolemy's  left,  is  headed  by  Achillas,  the  general  of 
Ptolemy's  troops.  Thcodotus  is  a  little  old  man,  whose  features 
are  as  cramped  and  wizened  as  his  liinbs,  except  his  tall  straight 
forehead,  which  occupies  more  space  than  all  the  rest  of  his 
face.  He  maintains  an  air  of  magpie  keenness  and  pro- 
fundity, listening  to  what  the  others  say  with  the  sarcastic 
vigilance  of  a  philosopher  listening  to  the  exercises  of  his  dis- 
ciples. Achillas  is  a  tall  handsome  man  of  thirty-five,  with  a 
fine  black  beard  curled  like  the  coat  of  a  poodle.  Apparently 
not  a  clever  man,  but  distinguished  and  dignified.     Pothinus 


Act  n  Csesar  and  Cleopatra  29 

is  a  vigorotis  man  of  fifty,  a  eunvch,  'passionate,  energetic  and 
quick  loitted,  but  of  common  mind,  and  character;  impatient 
and  unable  to  control  his  temper.  He  has  fine  tavmy  hair, 
like  fur.  Ptolemy,  the  King,  looks  much  older  than  an  Eng- 
lish boy  of  ten;  but  he  has  the  childish  air,  tlie  habit  of  being 
in  leading  strings,  the  mixture  of  impotence  and  petulance, 
the  appearance  of  being  excessively  washed,  combed  and 
dressed  by  other  hands,  which  is  exhibited  by  court-bred  princes 
of  all  ages. 

All  receive  the  King  with  reverences.  He  comes  down  the 
steps  to  a  chair  of  state  which  stands  a  little  to  his  right,  the 
only  seat  in  the  hall.  Taking  his  place  before  it,  he  looks 
nervou,sly  for  instructions  to  Pothinu^,  who  places  himself  at 
his  left  hand. 

PoTHiNUS.     The  King  of  Egypt  has  a  word  to  speak. 

Theodotus  (in  a  squeak  which  he  makes  impressive  by 
sheer  self-opinionativeness).     Peace  for  the  King's  word! 

Ptolemy  {unthotd  any  vocal  inflexions:  he  is  evidently 
repeating  a  lesson).  Take  notice  of  this  all  of  you.  I  am 
the  firstborn  son  of  Auletes  the  Flute  Blower  who  was  your 
King.  My  sister  Berenice  drove  him  from  his  throne  and 
reigned  in  his  stead  but — ^but  (he  hesitates) 

PoTHiNUS  (stealthily  prompting) — but  the  gods  would  not 
suffer 

Ptolemy.  Yes — the  gods  would  not  suffer — not  suffer — 
(he  stops;  then,  crestfallen)  I  forget  what  the  gods  would 
not  suffer. 

Theodotus.  Let  Pothinus,  the  King's  guardian,  speak 
for  the  King. 

Pothinus  (suppressing  his  impatience  with  difficulty).  The 
King  wished  to  say  that  the  gods  would  not  suffer  the  im- 
piety of  his  sister  to  go  unpunished. 

Ptolemy  (liaslUy).  Yes:  I  remember  the  rest  of  it.  (He 
resumes  his  monotone.)  Therefore  the  gods  sent  a  stranger, 
one  Mark  Antony,  a  Roman  captain  of  horsemen,  across  the 
sands  of  the  desert  and  he  set  my  father  again  upon  the 


80  Cassar  and  Cleopatra  Act  n 

throne.  And  my  father  took  Berenice  my  sister  and  struck 
her  head  off.  And  now  that  my  father  is  dead  yet  another 
of  his  daughters,  my  sister  Cleopatra,  would  snatch  the  king- 
dom from  me  and  reign  in  my  place.  But  the  gods  would 
not  suffer  (Pothinus  coughs  admonitorUy) — the  gods — the  gods 
would  not  suffer 

Pothinus  (prompting) — will  not  maintain 

Ptolemy.  Oh  yes — will  not  maintain  such  iniquity,  they 
will  give  her  head  to  the  axe  even  as  her  sister's.  But  with 
the  help  of  the  witch  Ftatateeta  she  hath  cast  a  spell  on  the 
Roman  Julius  Csesar  to  make  him  uphold  her  false  pretence 
to  rule  in  Egypt.  Take  notice  then  that  I  will  not  suffer — 
that  I  will  not  suffer — (pettishly,  to  Pothinus)  What  is  it 
that  T  will  not  suffer  ? 

Pothinus  (svAdcnly  exploding  with  all  the  force  and  em- 
phasis of  political  passion).  The  King  will  not  suffer  a 
foreigner  to  take  from  him  the  throne  of  our  Egypt.  (A 
shout  of  applause.)  Tell  the  King,  Achillas,  how  many 
soldiers  and  horsemen  follow  the  Roman? 

Theodotus.     Let  the  King's  general  speak! 

AcHiiiLAS.  But  two  Roman  legions,  O  King.  Three 
thousand  soldiers  and  scarce  a  thousand  horsemen. 

The  court  breaks  into  derisive  laughter;  and  a  great  chatter- 
ing heginSy  amid  which  Rufio,  a  Roman  officer,  appears  in 
the  loggia.  He  is  a  burly,  black-bearded  man  of  middle  age, 
very  blu7it,  prompt  and  rough,  with  small  clear  eyes,  and 
plump  nose  and  cheeks,  which,  however,  like  the  rest  of  his 
flesh,  are  in  ironhard  condition. 

Rurio  (from  the  steps).  Peace,  ho!  (The  laugJtter  and 
chatter  cease  abruptly.)     Csesar  approaches. 

Theodotus  (urith  much  presence  of  mind).  The  King 
permits  the  Roman  commander  to  enter! 

Caesar,  plainly  dressed,  but  wearing  an  oak  wreath  to  con- 
ceal his  bcddness,  enters  from  the  loggia,  attended  by  Britannus, 
his  secretary,  a  Briton,  about  forty,  tall,  solemn,  and  already 
slightly  bald,  with  a  heavy,  drooping,  hazel-colored  moustache 
trained  so  as  to  lose  its  ends  in  a  pair  of  trim  whiskers.    He 


Act  n  Caesar  and  Cleopatra  31 

is  carefully  dressed  in  blue,  with  portfolio,  inkkom,  and  reed 
pen  at  his  girdle.  His  serious  air  and  sense  of  the  importance 
of  the  business  in  hand  is  in  marked  contrast  to  the  kindly 
interest  of  Ccesar,  who  looks  at  the  scene,  which  is  new  to 
him,  with  the  frank  curiosity  of  a  child,  and  then  turns  to 
the  King's  chair:  Britannus  and  Rufio  posting  themselves 
near  the  steps  at  the  other  side. 

CiESAR  (looking  at  Pothinus  and  Ptolemy).  Which  is  the 
King?  the  man  or  the  boy? 

Pothinus.  I  am  Pothinus,  the  guardian  of  my  lord  the  King. 

C.ES.^n  (patting  Ptolemy  kindly  on  the  shovlder).  So  you 
are  the  King.  Dull  work  at  your  age,  eh?  (To  Pothinus) 
Your  servant,  Pothinus.  (He  turns  away  unconcernedly  and 
comes  slowly  along  the  middle  of  the  hall,  looldng  from  side  to 
side  at  the  courtiers  until  he  reaches  Achillas.)  And  this 
gentleman  ? 

Theodotus.     Achillas,  the  King's  general. 

C^SAR  (to  Achillas,  very  friendly).  A  general,  eh?  I  am 
a  general  myself.  But  I  began  too  old,  too  old.  Health  and 
many  victories,  Achillas! 

Achillas.     As  the  gods  will,  Caesar. 

C^SAR  (turning  to  Theodotus).     And  you,  sir,  are ? 

Theodotus.     Theodotus,  the  King's  tutor. 

CiESAR.  You  teach  men  how  to  be  kings,  Theodotus. 
That  is  very  clever  of  you.  (Looking  at  the  gods  on  the  walls 
as  he  tu^ms  away  from  Theodotus  and  goes  up  again  to  Po- 
thinus).   And  this  place? 

Pothinus.  The  council  chamber  of  the  chancellors  of 
the  King's   treasury,   Caesar. 

C/ESAR.     Ah !  that  reminds  me.     I  want  some  money. 

Pothinus.     The  King's  treasury  is  poor,  Caesar. 

CiESAR.     Yes :  I  notice  that  there  is  but  one  chair  in  it. 

Rufio  (shouting  gruffly).  Bring  a  chair  there,  some  of  you, 
for  Caesar. 

Ptolemy  (rising  shyly  to  offer  his  chair).     Caesar 

C^SAR  (kindly).  No,  no,  my  boy:  that  is  your  chair  of 
state.     Sit  down. 


32  Caesar  and  Cleopatra  Act  n 

He  makes  Ptolemy  sit  down  again.  Meanwhile  Rufio,  look- 
ing about  him,  sees  in  the  nearest  comer  an  image  of  the  god  Ra, 
represented  as  a  seated  man  ivith  the  head  of  a  hawk.  Before 
the  image  is  a  bronze  tripod,  about  as  large  as  a  three-legged 
stool,  wiih  a  stick  of  incense  burning  on  it.  Rufio,  with  Roman 
resourcefulness  and  indifference  to  foreign  superstitions,  prompt- 
ly seizes  the  tripod;  shakes  off  the  incense;  blows  away  the  ash; 
and  dumps  it  down  behind  CcEsar,  nearly  in  the  middle  of  the 
hall. 

Rufio.    Sit  on  that,  Caesar. 

A  shiver  runs  through  the  court,  followed  by  a  hissing  whis- 
per of  Sacrilege! 

CiESAB  (seating  himself).  Now,  Pothinus,  to  business.  I 
am  badly  in  want  of  money. 

Britannus  {disapproving  of  these  informal  expressions). 
My  master  would  say  that  there  is  a  lawful  debt  due  to  Rome 
by  Egypt,  contracted  by  the  King's  deceased  father  to  the 
Trium\-irate;  and  that  it  is  Caesar's  duty  to  his  country  to  re- 
quire immediate  payment. 

C^^AR  {blandly).  Ah,  I  forgot.  I  have  not  made  my 
companions  known  here.  Pothinus:  this  is  Britannus,  my 
secretary.  He  is  an  islander  from  the  western  end  of  the  world, 
a  day's  voyage  from  Gaul.  {Britannus  boivs  stiffly.)  This 
gentleman  is  Rufio,  my  comrade  in  arms.  {Rufio  nods.)  Po- 
thinus: I  want  1,600  talents. 

The  courtiers,  appalled,  murmur  loudly,  and  Theodotus  and 
Achillas  appeal  mutely  to  one  another  against  so  monstrous  a 
demand. 

Pothinus  {aghast).  Forty  million  sesterces!  Impossible. 
There  is  not  so  much  money  in  the  King's  treasury. 

CiESAR  {encouragingly).  Only  sixteen  hundred  talents, 
Pothinus.  Why  count  it  in  sesterces?  A  sestertius  is  only 
worth  a  loaf  of  bread. 

Pothinus.  And  a  talent  is  worth  a  racehorse.  I  say  it  is 
impossible.  We  have  been  at  strife  here,  because  the  King's 
sister  Cleopatra  falsely  claims  his  throne.  The  King's  taxes 
have  not  been  collected  for  a  whole  year. 


Act  II  Csesar  and  Cleopatra  33 

Cesar.  Yes  they  have,  Pothinus.  My  officers  have  been 
collecting  them  all  the  morning.  (Reneived  whisper  and  sen- 
sation, not  without  some  stifled  laugliter,  among  the  courtiers.) 

RuFio  (bluntly).  You  must  pay,  Pothinus.  "Why  waste 
words  ?     You  are  getting  off  cheaply  enough. 

Pothinus  (bitterly).  Is  it  possible  that  Csesar,  the  con- 
queror of  the  world,  has  time  to  occupy  himself  with  such  a 
trifle  as  our  taxes  ? 

C.ESAR.  My  friend:  taxes  are  the  chief  business  of  a  con- 
queror of  the  worid. 

Pothinus.  Then  take  warning,  Csesar.  This  day,  the 
treasures  of  the  temples  and  the  gold  of  the  King's  treasury 
shall  be  sent  to  the  mint  to  be  melted  down  for  our  ransom  in 
the  sight  of  the  people.  They  shall  see  us  sitting  under  bare 
walls  and  drinking  from  wooden  cups.  And  their  wrath  be 
on  your  head,  Csesar,  if  you  force  us  to  this  sacrilege! 

C-ESAR.  Do  not  fear,  Pothinus:  the  people  know  how  well 
wine  tastes  in  wooden  cups.  In  return  for  your  bounty,  I  will 
settle  this  dispute  about  tiie  throne  for  you,  if  you  will.  What 
say  you  ? 

Pothinus.     If  I  say  no,  will  that  hinder  you  ? 

RuFio  (defiantly).     No. 

C^SAR.  You  say  the  matter  has  been  at  issue  for  a  year, 
Pothinus.     May  I  have  ten  minutes  at  it? 

Pothinus.     You  will  do  your  pleasure,  doubtless. 

Cesar.     Good!     But  first,  let  us  have  Cleopatra  here. 

Theodotus.    She  is  not  in  Alexandria:  she  is  fled  into  Sjoia. 

CiESAR.     I  think  not.     (To /?m^o)  Call  Totateeta. 

Rtjfio  (caUinq).     Ho  there,  Teetatota. 

Ftatateeta  enters  the  loggia,  and  stands  arrogantly  at  the  top  of 
the  steps. 

Ptatateeta.  Who  pronounces  the  name  of  Ftatateeta, 
the  Queen's  chief  nurse  ? 

Cesar.  Nobody  can  pronounce  it,  Tota,  except  yourself. 
Where  is  your  mistress? 

Cleopatra,  wlw  is  hiding  behind  Ftatateeta,  peeps  out  at  them^ 
laughing.     Caesar  rises. 


34  Csesar  and  Cleopatra  Act  n 

Cesar.  Will  the  Queen  favor  us  with  her  presence  for  a 
moment? 

Cleopatra  (pushing  Ftatateeta  aside  and  standing  haughtily 
on  the  brink  of  the  steps).     Am  I  to  behave  like  a  Queen? 

C^SAR.     Yes. 

Cleopatra  immediately  comes  down  to  the  chair  of  state;  seizes 
Ptolemy  and  drags  him  out  of  his  seat;  then  takes  his  place  in 
the  chair.  Ftatateeta  seats  herself  on  the  step  of  the  loggia,  and 
sits  there,  watching  the  scene  with  sybilline  intensity. 

Ptolemy  (mortified,  and  struggling  with  his  tears).  Csesar: 
this  is  how  she  treats  me  always.  If  I  am  a  king  why  is  she 
allowed  to  take  everything  from  me  ? 

Cleopatra.  You  are  not  to  be  King,  you  little  cry-baby. 
You  are  to  be  eaten  by  the  Romans. 

C^SAR  (touched  by  Ptolemy^s  distress).  Come  here,  my  boy, 
and  stand  by  me. 

Ptolemy  goes  over  to  Caesar,  who,  resuming  his  seat  on  the 
tripod,  takes  the  boy's  hand,  to  encourage  him.  Cleopatra,  furi- 
ously jealous,  rises  and  glares  at  them. 

Cleopatra  (with  flaming  cheeks).  Take  your  throne:  I 
don't  want  it.  (She  flings  away  from  the  chair,  and  approaches 
Ptolemy,  who  shrinks  from  her.)  Go  this  instant  and  sit  down 
in  your  place. 

C^SAR.  Go,  Ptolemy.  Always  take  a  throne  when  it  is 
offered  to  you. 

RuFio.  I  hope  you  will  have  the  good  sense  to  follow  your 
own  advice  when  we  return  to  Rome,  Caesar. 

Ptolemy  slowly  goes  back  to  the  throne,  giving  Cleopatra  a 
wide  berth,  in  evident  fear  of  her  hands.  She  takes  his  place 
beside  Ccesar. 

C^SAR.     Pothinus 

Cleopatra  (interrupting  him).  Are  you  not  going  to  speak 
to  me? 

C^sar.  Be  quiet.  Open  your  mouth  again  before  I  give 
you  leave;  and  you  shall  be  featen. 

Cleopatra.  I  am  not  afraid .  A  queen  must  not  be  afraid . 
Eat  my  husband  there,  if  you  like:  h  e  is  afraid. 


Act  n  Cffisar  and  Cleopatra  35 

C-'ES A.R  (starting) .     Your  husband !    What  do  you  mean  ? 

Cleopatra  (pointing  to  Ptolemy).    That  little  thing. 

The  two  Romans  and  the  Briton  stare  at  one  another  in  amaze- 
ment. 

Theodotus.  Caesar:  you  are  a  stranger  here,  and  not  con- 
versant with  our  laws.  The  kings  and  queens  of  Egypt  may 
not  marry  except  with  their  own  royal  blood.  Ptolemy  and 
Cleopatra  are  bom  king  and  consort  just  as  they  are  bom 
brother  and  sister. 

Britannus  (shocked).    Caesar:  this  is  not  proper. 

Theodotus  (oviragcd).    How! 

C^SAR  (recovering  his  self-possession).  Pardon  him, 
Theodotus:  he  is  a  barbarian,  and  thinks  that  the  customs  of 
his  tribe  and  island  are  the  laws  of  nature. 

Britannus.  On  the  contrary,  Caesar,  it  is  these  Egyptians 
who  are  barbarians;  and  you  do  wrong  to  encourage  them. 
I  say  it  is  a  scandal. 

Cesar.  Scandal  or  not,  my  friend,  it  opens  the  gate  of 
peace.  (He  rises  and  addresses  Pothinus  seriously)  Pothi- 
nus :  hear  what  I  propose. 

RuFio.     Hear  Caesar  there. 

CiiESAK.  Ptolemy  and  Cleopatra  shall  reign  jointly  in 
Egypt. 

Achillas.  What  of  the  King's  younger  brother  and 
Cleopatra's  younger  sister? 

Runo  (explaining).  There  is  another  little  Ptolemy, 
Caesar:  so  they  tell  me. 

C^SAR.  Well,  the  little  Ptolemy  can  marry  the  other 
sister;  and  we  will  make  them  both  a  present  of  Cyprus. 

Pothinus  (impatiently).     Cyprus  is  of  no  use  to  anybody. 

C^SAR.  No  matter:  you  shall  have  it  for  the  sake  of 
peace. 

Britannus  (unconsciously  ardidpating  a  later  statesman). 
Peace  with  honor,  Pothinus. 

Pothinus  (mutinously).  Caesar:  be  honest.  The  money 
you  demand  is  the  price  of  our  freedom.  Take  it;  and  leave 
us  to  settle  our  own  affairs. 


36  Caesar  and  Cleopatra  Act  n 

The  Bolder  Courtiers  (encouraged  by  Pothinus*s  tone 
and  Ccesars  quietness).     Yes,  yes.     Egj'pt  for  the  Egyptians! 

The  conference  now  becomes  an  altercation,  the  Egyptians 
becoming  more  and  more  heated.  Cassar  remains  unruffled; 
hut  Rufio  grows  fiercer  and  doggeder,  and  Briiannv^  haughtily 
indignant. 

Rufio  (contemptuously).  Egypt  for  the  Egyptians!  Do 
you  forget  that  there  is  a  Roman  army  of  occupation  here, 
left  by  Aulus  Gabinius  when  he  set  up  your  toy  king  for  you  ? 

Achillas  (suddenly  asserting  himself).  And  now  under  my 
command.     /  am  the  Roman  general  here,  Caesar. 

C^SAR  (tickled  by  the  humor  of  the  situation).  And  also 
the  Egyptian  general,  eh? 

PoTHiNus  (triumphantly).     That  is  so,  Caesar. 

CAESAR  (to  Achillas).  So  you  can  make  war  on  the  Egyp- 
tians in  the  name  of  Rome,  and  on  the  Romans — on  me,  if 
necessary — in  the  name  of  Eg}pt? 

Achillas.    That  is  so,  Caesar. 

CiESAR.  And  which  side  are  you  on  at  present,  if  I  may 
presume  to  ask,  general .'' 

Achillas.     On  the  side  of  the  right  and  of  the  gods. 

CiESAR.     Hm !     How  many  men  have  you  ? 

Achillas.     That  will  appear  when  I  take  the  field. 

Rufio  (truculently).  Are  your  men  Romans?  If  not,  it 
matters  not  how  many  there  are,  provided  you  are  no  stronger 
than  500  to  ten. 

Pothinus.  It  is  useless  to  try  to  bluflF  us,  Rufio.  Caesar 
has  been  defeated  before  and  may  be  defeated  again.  A  few 
weeks  ago  Caesar  was  flying  for  his  life  before  Pompey:  a 
few  months  hence  he  may  be  flying  for  his  life  before  Cato 
and  Juba  of  Numidia,  the  African  King. 

Achillas  (following  up  Pothinus's  speech  menacingly^. 
What  can  you  do  with  4,000  men? 

Theodotus  (following  up  Achillas's  speech  with  a  raucoua 
squeak).     And  without  money?     Away  with  you. 

All  the  Courtiers  (shouting  fiercely  and  crowding  towards 
Caesar).     Away  with  you.     Egypt  for  the  Egyptians!  Begone. 


Act  n  Csesar  and  Cleopatra  37 

Rufio  bites  his  beard,  too  angry  to  speak.  CcBSar  sits  as 
comfortably  as  if  he  were  at  breakfast,  and  the  cat  were  clam- 
oring for  a  piece  of  Finnan-haddie. 

Cleopatra.  Why  do  you  let  them  talk  to  you  Uke  that, 
Csesar?    Are  you  afraid? 

C^SAB.     Why,  my  dear,  what  they  say  is  quite  true. 

Cleopatra.    But  if  you  go  away,  I  shall  not  be  Queen. 

C-iESAR.     I  shall  not  go  away  until  you  are  Queen. 

PoTHiNUS.  Achillas:  if  you  are  not  a  fool,  you  will  take 
that  girl  whilst  she  is  under  your  hand. 

Runo  {daring  them).  Why  not  take  Csesar  as  well, 
Achillas? 

PoTHiNUS  (retorting  the  defiance  with  interest).  Well  said, 
Rufio.    Why  not? 

RuFio.    Try,  Achillas.     (Calling)     Guard  there. 

The  loggia  immediately  fills  with  Caisar's  soldiers,  who 
stand,  sword  in  hand,  at  the  top  of  the  steps,  waiting  the  word 
to  charge  from  their  centurion,  who  carries  a  cudgel.  For  a 
moment  the  Egyptians  face  them  proudly:  then  they  retire 
sullenly  to  their  former  places. 

Britannus.     You  are  Caesar's  prisoners,  all  of  you. 

Cesar  (benevolently).  Oh  no,  no,  no.  By  no  means. 
Caesar's  guests,  gentlemen. 

Cleopatra.     Won't  you  cut  their  heads  off? 

CiESAR.     What!    Cut  off  your  brother's  head ? 

Cleopatra.  Why  not?  He  would  cut  off  mine,  if  he  got 
the  chance.    Wouldn't  you,  Ptolemy? 

Ptolemy  (pale  and  obstinate).  I  would.  I  will,  too,  when 
I  grow  up. 

Cleopatra  is  rent  by  a  struggle  between  her  newly-acquired 
dignity  as  a  queen,  and  a  strong  impulse  to  put  out  her  tongue 
at  him.  She  takes  no  part  in  the  scene  which  follows,  but 
watches  it  with  curiosity  and  wonder,  fidgeting  with  the  rest- 
lessness of  a  child,  and  sitting  doum  on  Caesar's  tripod  when 
he  rises. 

PoTHiNXTs.     Caesar:  if  you  attempt  to  detain  us 

Rufio.    He  will  succeed,  Egyptian:  make  up  your  mind 


38  Caesar  and  Cleopatra  Act  II 

to  that.  We  hold  the  palace,  the  beach,  and  the  eastern 
harbor.  The  road  to  Rome  is  open;  end  you  shall  travel  it 
if  Csesar  chooses. 

Cjssar  (courtecnisly).  I  could  do  no  less,  Pothinus,  to 
secure  the  retreat  of  my  own  soldiers.  I  am  accountable  for 
every  life  among  them.  But  you  are  free  to  go.  So  are 
all  here,  and  in  the  palace. 

RuFio  {aghast  at  this  cLemency).  What!  Renegades  and 
all? 

QjE&KR  (softening  the  expression).  Roman  army  of  occu- 
pation and  all,  Rufio. 

Pothinus  {desperately).  Then  I  make  a  last  appeal  to 
Caesar's  justice.  I  shall  call  a  witness  to  prove  that  but  for 
us,  the  Roman  army  of  occupation,  led  by  the  greatest  soldier 
in  the  world,  would  now  have  Caesar  at  its  mercy.  {Calling 
through  the  loggia)  Ho,  there,  Lucius  Septimius  {Caesar 
starts,  deeply  moved):  if  my  voice  can  reach  you,  come  forth 
and  testify  before  Csesar. 

CiESAB  {shrinking).    No,  no. 

Thixddotus.  Yes,  I  say.  Let  the  military  tribune  bear 
witness. 

Lucius  SeptimiuSf  a  clean  shaven,  trim  athlete  of  about  40, 
with  symmetrical  features,  resolute  mouth,  and  handsome, 
thin  Roman  nose,  in  the  dress  of  a  Roman  officer,  comes  in 
through  the  loggia  and  confronts  Ccesar,  who  hides  his  face 
with  his  robe  for  a  moment;  then,  mastering  himself,  drops  it, 
and  confronts  the  tribune  with  dignity. 

Pothinus.  Bear  witness,  Lucius  Septimius.  Csesar  came 
hither  in  pursuit  of  his  foe.     Did  we  shelter  his  foe? 

Lucius.  As  Pompey's  foot  touched  the  Egyptian  shore, 
his  heaxj  ^ell  by  the  stroke  of  my  sword. 

Theodotus  {urith  viperish  relish).  Under  the  eyes  of  his 
wife  and  child!  Remember  that,  Csesar!  They  saw  it  from 
the  ship  he  had  just  left.  We  have  given  you  a  full  and 
sweet  measure  of  vengeance. 

CAESAR  {urith  horror).    Vengeance! 

Pothinus.    Our  first  gift  to  you,  as  your  galley  came 


Act  II  Caesar  and  Cleopatra  39 

into  the  roadstead,  was  the  head  of  your  rival  for  the  empire 
of  the  worid.     Bear  witness,  Lucius  Septimius:  is  it  not  so? 

Lucius.  It  is  so.  With  this  hand,  that  slew  Pompey,  I 
placed  his  head  at  the  feet  of  Caesar. 

C^SAR.  Murderer!  So  would  you  have  slain  Caesar,  had 
Pompey  been  victorious  at  Pharsalia. 

Lucius.  Woe  to  the  vanquished,  Caesar!  When  I  served 
Pompey,  I  slew  as  good  men  as  he,  only  because  he  con- 
quered them.     His  turn  came  at  last. 

Theodotus  (flatteringly).  The  deed  was  not  yours, 
Caesar,  but  ours — nay,  mine;  for  it  was  done  by  my  counsel. 
Thanks  to  us,  you  keep  your  reputation  for  clemency,  and 
have  your  vengeance  too. 

Cesar.  Vengeance!  Vengeance!!  Oh,  if  I  could  stoop  to 
vengeance,  what  would  I  not  exact  from  you  as  the  price  of  this 
murdered  man's  blood.  {They  shrink  back,  appalled  and  dis- 
concerted.) Was  he  not  my  son-in-law,  my  ancient  friend,  for 
20  years  the  master  of  great  Rome,  for  30  years  the  compeller  of 
victory?  Did  not  I,  as  a  Roman,  share  his  glory?  Was  the 
Fate  that  forced  us  to  fight  for  the  mastery  of  the  world,  of  our 
making?  Am  I  Julius  Caesar,  or  am  I  a  wolf,  that  you  fling  to 
me  the  grey  head  of  the  old  soldier,  the  laurelled  conqueror,  the 
mighty  Roman,  treacherously  struck  down  by  this  callous 
ruflSan,  and  then  claim  my  gratitude  for  it!  (To  Lucius  Sep- 
timius) Begone:  you  fill  me  with  horror. 

Lucius  (cold  and  undaunted).  Pshaw!  you  have  seen  sev- 
ered heads  before,  Caesar,  and  severed  right  hands  too,  I  think; 
some  thousands  of  them,  in  Gaul,  after  you  vanquished  Ver- 
cingetorix.  Did  you  spare  him,  with  all  your  clemency  ?  Was 
that  vengeance  ? 

C^SAH.  No,  by  the  gods!  would  that  it  had  been!  Ven- 
geance at  least  is  human.  No,  I  say:  those  severed  right 
hands,  and  the  brave  Vercingetorix  basely  strangled  in  a  vault 
beneath  the  Capitol,  were  (with  shuddering  satire)  a  wise  sever- 
ity, a  necessary  protection  to  the  commonwealth,  a  duty  of 
statesmanship — folUes  and  fictions  ten  times  bloodier  than 
honest  vengeance!    What  a  fool  was  I  then!    To  think  that 


40  Cffisar  and  Cleopatra  Act  II 

men's  lives  should  be  at  the  mercy  of  such  fools!  {Humbly) 
Lucius  Septimius,  pardon  me:  why  should  the  slayer  of  Vercin- 
getorix  rebuke  the  slayer  of  Pompey  ?  You  are  free  to  go  with 
the  rest.  Or  stay  if  you  will :  I  will  find  a  place  for  you  in  my 
service. 

Lucius.  The  odds  are  against  you,  Caesar.  I  go.  {He 
turns  to  go  out  through  the  loggia.) 

RuFio  {full  of  wrath  at  seeing  his  prey  escaping).  That 
means  that  he  is  a  Republican. 

Lucius  {turning  defiantly  on  the  loggia  steps).  And  what 
are  you? 

RuFio.     A  Caesarian,  hke  all  Casar's  soldiers. 

Cesar  {courteously).  Lucius:  believe  me,  Caesar  is  no 
Caesarian.  Were  Rome  a  true  r^ublic,  then  were  Caesar  the 
first  of  Republicans.  But  you  have  made  your  choice.  Fare- 
well. 

Lucius.  Farewell.  Come,  Achillas,  whilst  there  is  yet 
time. 

Caesar,  seeing  thai  Rufio's  temper  threatens  to  get  the  worse  of 
him,  puts  his  hand  on  his  shoulder  and  brings  him  down  the 
hall  out  of  harm's  way,  Briiannus  accompanying  them  and 
posting  himself  on  Caesar's  right  hand.  This  movement 
brings  the  three  in  a  little  group  to  the  place  occupied  by  Achillas, 
who  moves  haughtily  away  and  joins  Theodotus  on  the  other 
side.  Ludjis  Septimius  goes  out  through  the  soldiers  in  the 
loggia.  Pothinu^,  Theodotus  and  Achillas  follow  him  with  the 
courtiers,  very  mistrustful  of  the  soldiers,  who  close  up  in  their 
rear  and  go  out  after  them,  keeping  them  moving  without  much 
ceremony.  The  King  is  left  in  his  chair,  piteous,  obstinate,  with 
twitching  face  and  fingers.  During  these  movements  Rufio 
maintains  an  energetic  grumbling,  as  follows: — 

Rdfio  {as  Liunus  departs).  Do  you  suppose  he  would  let 
us  go  if  he  had  our  heads  in  his  hands  ? 

Cesar.  I  have  no  right  to  suppose  that  his  ways  are  any 
baser  than  mine. 

Rufio.     Psha! 

CiBSAR.    Rufio:  if  I  take  Lucius  Septimius  for  my  model. 


Act  n  Cffisar  and  Cleopatra  41 

and  become  exactly  like  him,  ceasing  to  be  Csesar,  will  you 
serve  me  still  ? 

Britannus.  Csesar:  this  is  not  good  sense.  Your  duty  to 
Rome  demands  that  her  enemies  should  be  prevented  from 
doing  further  mischief.  {CcBsar,  whose  delight  in  the  moral 
eye-to-business  of  his  British  secretary  is  inexhaustible,  smiles 
indulgently.) 

RuFio.  It  is  no  use  talking  to  him,  Britannus:  you  may 
save  your  breath  to  cool  your  porridge.  But  mark  this,  Caesar. 
Clemency  is  very  well  for  you;  but  what  is  it  for  your  soldiers, 
who  have  to  fight  to-morrow  the  men  you  spared  yesterday? 
You  may  give  what  orders  you  please;  but  I  tell  you  that  your 
next  victory  will  be  a  massacre,  thanks  to  your  clemency.  I, 
for  one,  will  take  no  prisoners.  I  will  kill  my  enemies  in  the 
field;  and  then  you  can  preach  as  much  clemency  as -you 
please:  I  shall  never  have  to  fight  them  again.  And  now,  with 
your  leave,  I  will  see  these  gentry  ofiF  the  premises.  {He  turns 
to  go.) 

C.ESAR  (turning  also  and  seeing  Ptolemy).  What!  have 
they  left  the  boy  alone!     Oh  shame,  shame! 

RuFio  (taking  Ptolemy's  hand  and  making  him  rise) .  Come, 
your  majesty! 

Ptolemy  (to  Coesar,  drawing  away  his  hand  from  Rufio). 
Is  he  turning  me  out  of  my  palace? 

Rufio  (grimly).     You  are  welcome  to  stay  if  you  wish. 

CiESAR  (kindly).  Go,  my  boy.  I  will  not  harm  you;  but 
you  will  be  safer  away,  among  your  friends.  Here  you  are  in 
the  lion's  mouth. 

Ptolemy  (turning  to  go).  It  is  not  the  lion  I  fear,  but 
(looking  at  Rufio)  the  jackal.  (He  goes  out  through  the 
loggia.) 

C^SAR  (laughing  approvingly).     Brave  boy! 

Cleopatra  (jecdous  of  Cassars  approbation,  calling  after 
Ptolemy).     Little  silly.     You  think  that  very  clever. 

C^SAR.  Britannus:  attend  the  King.  Give  him  in  charge 
to  that  Pothinus  fellow.     (Britannus  goes  out  after  Ptolemy.) 

Rufio  (pointing  to  Cleopatra).    And  this  piece  of  goods? 


42  Csesar  and  Cleopatra  Act  II 

What  is  to  be  done  with  her?  However,  I  suppose  I  may 
leave  that  to  you.     {He  goes  ovt  through  the  loggia.) 

Cleopatra  {flushing  suddenly  and  turning  on  Ccesar).  Did 
you  mean  me  to  go  with  the  rest  ? 

CiESAR  (a  little  preoccupied,  goes  with  a  sigh  to  Ptolemy's 
chair,  whilst  she  waits  for  his  answer  with  red  cheeks  and 
clenched  fists).  You  are  free  to  do  just  as  you  please,  Cleo- 
patra. 

Cleopatra.    Then  you  do  not  care  whether  I  stay  or  not  ? 

C^SAR  {smiling).     Of  course  I  had  rather  you  stayed. 

Cleopatra.     Much,  much  rather  ? 

CAESAR  {nodding).     Much,  much  rather. 

Cleopatra.  Then  I  consent  to  stay,  because  I  am  asked. 
But  I  do  not  want  to,  mind. 

Cesar.  That  is  quite  understood.  {Calling)  Tota- 
teeta. 

Ftatateeta,  still  seated,  turns  her  eyes  on  him  with  a  sinister 
expression,  hut  does  not  move. 

Cleopatra  {with  a  splutter  of  laughter).  Her  name  is  not 
Totateeta:  it  is  Ftatateeta.  {Calling)  Ftatateeta.  {Ftata- 
teeta instantly  rises  and  comes  to  Cleopatra.) 

CiESAR  {stumbling  over  the  name).  Tfatafeeta  will  forgive 
the  erring  tongue  of  a  Roman.  Tota:  the  Queen  will  hold  her 
state  here  in  Alexandria.  Engage  women  to  attend  upon  her; 
and  do  all  that  is  needful. 

Ftatateeta.  Am  I  then  the  mistress  of  the  Queen's  house- 
hold? 

Cleopatra  {sharply).  No:  I  am  the  mistress  of  the 
Queen's  household.  Go  and  do  as  you  are  told,  or  I  will  have 
you  thrown  into  the  Nile  this  very  afternoon,  to  poison  the  poor 
crocodiles. 

C^SAR  {shocked).     Oh  no,  no. 

Cleopatra.  Oh  yes,  yes.  You  are  very  sentimental, 
C«esar;  but  you  are  clever;  and  if  you  do  as  I  tell  you,  you  will 
soon  learn  to  govern. 

Ccesar,  quite  dumbfounded  by  this  impertinence,  turns  in  his 
chair  and  stares  at  her. 


Act  n  Caesar  and  Cleopatra  48 

Ftatateeta,  smiling  grimly,  and  showivxj  a  splendid  set  of 
teeth,  goes,  leaxnng  them  alone  together. 

Cjesar.     Cleopatra:  I  really  think  I  must  eat  you,  after  all. 

Cleopatra  (kneeling  beside  him  and  looking  at  him  with 
eager  interest,  half  real,  half  affected  to  shew  how  intelligent  she 
is).  You  must  not  talk  to  me  now  as  if  I  were  a  child. 

C^SAR.  You  have  been  growing  up  since  the  Sphinx  in- 
troduced us  the  other  night;  and  you  think  you  know  more 
than  I  do  already. 

Cleopatra  (taken  dawn,  and  anxious  to  justify  herself).  No: 
that  would  be  very  silly  of  me:  of  course  I  know  that.  But — 
(suddenly)  are  you  angry  with  me? 

CvESAR.     No. 

Cleopatra  (only  half  believing  him).  Then  why  are  you 
so  thoughtful? 

C^sar  (rising).     I  have  work  to  do,  Cleopatra. 

Cleopatra  (drawing  back).  Work!  (Offended)  You  are  tired 
of  talking  to  me;  and  that  is  your  excuse  to  get  away  from  me. 

CAESAR  (sitting  down  again  to  appease  her).  Well,  well: 
another  minute.     But  then — work! 

Cleopatra.  Work!  what  nonsense!  You  must  remem- 
ber that  you  are  a  king  now:  I  have  made  you  one.  Kings 
don't  work. 

Cesar.    Oh!    Who  told  you  that,  little  kitten?    Eh? 

Cleopatra.  My  father  was  King  of  Egypt;  and  he  never 
worked.  But  he  was  a  great  king,  and  cut  off  my  sister's 
head  because  she  rebelled  against  him  and  took  the  throne 
from  him. 

Caesar.     Well;  and  how  did  he  get  his  throne  back  again? 

Cleopatra  (eagerly,  her  eyes  lighting  up).  I  will  tell  you. 
A  beautiful  young  man,  with  strong  round  arms,  came  over 
the  desert  with  many  horsemen,  and  slew  my  sister's  hus- 
band and  gave  my  father  back  his  throne.  {Wistfully)  I 
was  only  twelve  then.  Oh,  I  wish  he  would  come  again, 
now  that  I  am  a  queen.     I  would  make  him  my  husband. 

C^SAR.  It  might  be  managed,  perhaps;  for  it  was  I  who 
sent  that  beautiful  young  man  to  help  your  father. 


44  Cagsar  and  Cleopatra  Act  n 

Cleopatra  (enraptured).     You  know  him! 

CiESAR  (nodding).     I  do. 

Cleopatra.  Has  he  come  with  you?  (Caesar  shakes  his 
head:  she  is  cruelly  disappointed.)  Oh,  I  wish  he  had,  I  wish 
he  had.  If  only  I  were  a  Httle  older;  so  that  he  might  not 
think  me  a  mere  kitten,  as  you  do!  But  perhaps  that  is 
because  you  are  old.  He  is  many,  many  years  younger 
than  you,  is  he  not? 

CAESAR  (as  if  swallowing  a  pill).     He  is  somewhat  younger. 

Cleopatra.  Would  he  be  my  husband,  do  you  think,  if 
I  asked  him  ? 

CjEsar.     Very  likely. 

Cleopatra.  But  I  should  not  like  to  ask  him.  Could 
you  not  persuade  him  to  ask  me — without  knowing  that  I 
wanted  him  to? 

CAESAR  (touched  by  her  innocence  of  the  beautiful  young 
man's  character).     My  poor  child! 

Cleopatra.  Why  do  you  say  that  as  if  you  were  sorry 
for  me?     Does  he  love  anyone  else? 

CiESAR.     I  am  afraid  so. 

Cleopatra  (tearfully).  Then  I  shall  not  be  his  first 
love. 

CiESAR.  Not  quite  the  first.  He  is  greatly  admired  by 
women. 

Cleopatra.  I  wish  I  could  be  the  first.  But  if  he  loves 
me,  I  will  make  him  kill  all  the  rest.  Tell  me:  is  he  still 
beautiful?  Do  his  strong  round  arms  shine  in  the  sun  Uke 
marble  ? 

C.<ESAR.  He  is  in  excellent  condition — considering  how 
much  he  eats  and  drinks. 

Cleopatra.  Oh,  you  must  not  say  common,  earthly 
things  about  him;  for  I  love  him.     He  is  a  god. 

CiESAR.  He  is  a  great  captain  of  horsemen,  and  swifter 
of  foot  than  any  other  Roman. 

Cleopatra.     What  is  his  real  name? 

Cjesar  (puzzled).     His  real  name? 

Clsopatba.    Yes.    I   always   call   him   Horus,   because 


Acrr  n  Caesar  and  Cleopatra  45 

Horus  is  the  most  beautiful  of  our  gods.  But  I  want  to  know 
his  real  name. 

C^SAR.     His  name  is  Mark  Antony. 

Cleopatra  (rmtsicaUy) .  Mark  Antony,  Mark  Antony, 
Mark  Antony!  What  a  beautiful  name!  (She  throws  her 
arms  round  Ceesar's  neck.)  Oh,  how  I  love  you  for  sending 
him  to  help  my  father!     Did  you  love  my  father  very  much? 

CiESAR.  No,  my  child ;  but  your  father,  as  you  say,  never 
worked.  I  always  work.  So  when  he  lost  his  crown  he  had 
to  promise  me  16,000  talents  to  get  it  back  for  him. 

Cleopatra.    Did  he  ever  pay  you  ? 

CiESAR.    Not  in  full. 

Cleopatra.  He  was  quite  right:  it  was  too  dear.  The 
whole  world  is  not  worth  16,000  talents. 

Cesar.  That  is  perhaps  true,  Cleopatra.  Those  Egyp- 
tians who  work  paid  as  much  of  it  as  he  could  drag  from 
them.  The  rest  is  still  due.  But  as  I  most  likely  shall  not 
get  it,  I  must  go  back  to  my  work.  So  you  must  run  away 
for  a  little  and  send  my  secretary  to  me. 

Cleopatra  (coaxing).  No:  I  want  to  stay  and  hear  you 
talk  about  Mark  Antony. 

CiESAR.  But  if  I  do  not  get  to  work,  Pothinus  and  the 
rest  of  them  will  cut  us  off  from  the  harbor;  and  then  the 
way  from  Rome  will  be  blocked. 

Cleopatra.  No  matter:  I  don't  want  you  to  go  back  to 
Rome. 

CiESAR.     But  you  want  Mark  Antony  to  come  from  it. 

Cleopatra  (springing  up) .  Oh  yes,  yes,  yes :  I  forgot.  Go 
quickly  and  work,  Caesar;  and  keep  the  way  over  the  sea  open 
for  my  Mark  Antony.  (She  runs  out  through  the  loggia, 
kissing  her  hand  to  Mark  Antony  across  the  sea.) 

CiESAR  (going  briskly  up  the  middle  of  the  hall  to  the  loggia 
steps).  Ho,  Britannus.  (He  is  startled  by  the  entry  of  a 
wounded  Roman  soldier,  who  confronts  him  from  the  upper 
step)     What  now? 

Soldier  (pointing  to  his  bandaged  head).  This,  Caesar; 
and  two  of  my  comrades  killed  in  the  market  place. 


46  Caesar  and  Cleopatra  Act  n 

CiESAR  (quiet,  but  attending).     Ay.    Why? 

Soldier.  There  is  an  army  come  to  Alexandria,  calling 
itself  the  Roman  army. 

CiESAR.    The  Roman  army  of  occupation.    Ay? 

Soldier.    Commanded  by  one  Achillas. 

Cesar.    Well? 

Soldier.  The  citizens  rose  against  us  when  the  army 
entered  the  gates.  I  was  with  two  others  in  the  market  place 
when  the  news  came.  They  set  upon  us.  I  cut  my  way  out; 
and  here  I  am. 

CiESAR.  Good.  I  am  glad  to  see  you  alive.  (Rufio  enters 
the  loggia  hastily,  passing  behind  the  soldier  to  look  out  through 
one  of  the  arches  at  the  quay  beneath.)     Rufio,  we  are  besieged. 

Rufio.    What!    Already? 

Cesar.  Now  or  to-morrow:  what  does  it  matter?  We 
shall    be    besieged. 

Britannus  runs  in. 

Britannus.     Caesar 

CiESAR  (anticipating  him).  Yes:  I  know.  (Rufio  and 
Britannus  come  down  the  hall  from  the  loggia  at  opposite  sides, 
past  CoBsar,  who  waits  for  a  moment  near  the  step  to  say  to 
the  soldier)  Comrade:  give  the  word  to  turn  out  on  the 
beach  and  stand  by  the  boats.  Get  your  wound  attended 
to.  Go.  (The  soldier  hurries  out.  Caesar  comes  down  the 
hall  between  Rufio  and  Britannus)  Rufio:  we  have  some 
ships  in  the  west  harbor.     Bum  them. 

Runo  (staring).     Burn  them!! 

Cesar.  Take  every  boat  we  have  in  the  east  harbor, 
and  seize  the  Pharos — that  island  with  the  lighthouse.  Leave 
half  our  men  behind  to  hold  the  beach  and  the  quay  out- 
side this  palace:  that  is  the  way  home. 

Rufio  (disapproving  strongly).     Are  we  to  give  up  the  city? 

CiESAR.  We  have  not  got  it,  Rufio.  This  palace  we  havet 
and — what  is  that  building  next  door  ? 

Rufio.    The  theatre. 

CiESAR.  We  will  have  that  too:  it  commands  the  strand. 
For  the  rest,  Egypt  for  the  Egyptians! 


Act  II  Caesar  and  Cleopatra  47: 

RuFio.     Well,  you  know  best,  I  suppose.    Is  that  all? 

CjEsar.     That  is  all.     Are  those  ships  burnt  yet? 

RuFio.  Be  easy:  I  shall  waste  no  more  time.  {He  runs 
otU.) 

Brit  ANNUS.  Caesar:  Pothinus  demands  speech  of  you. 
In  my  opinion  he  needs  a  lesson.  His  manner  is  most  in- 
solent. 

Cesar.     Where  is  he? 

Bhitannus.     He  waits  without. 

Cesar.     Ho  there!  admit  Pothinus. 

Pothintis  appears  in  the  loggia,  and  comes  down  the  hall 
very  haughtily  to  Coesar^s  left  hand. 

Cesar.     Well,  Pothinus? 

Pothinus.     I  have  brought  you  our  ultimatum,  Caesar. 

Cesar.  Ultimatum!  The  door  was  open:  you  should 
have  gone  out  through  it  before  you  declared  war.  You  are 
my  prisoner  now.     {He  goes  to  the  chair  and  loosens  his  toga.) 

Pothinus  {scornfully).  I  your  prisoner!  Do  you  know 
that  you  are  in  Alexandria,  and  that  King  Ptolemy,  with 
an  army  outnumbering  your  little  troop  a  hundred  to  one, 
is  in  possession  of  Alexandria  ? 

C^SAR  {unconcernedly  taking  off  his  toga  and  throwing  it 
on  the  chair).  Well,  my  friend,  get  out  if  you  can.  And 
tell  your  friends  not  to  kill  any  more  Romans  in  the  market 
place.  Otherwise  my  soldiers,  who  do  not  share  my  cele- 
brated clemency,  will  probably  kill  you.  Britannus:  pass 
the  word  to  the  guard;  and  fetch  my  armor.  {Britannus 
runs  out.     Rufio  returns.)     Well? 

RuFio  {pointing  from  the  loggia  to  a  cloud  of  smoke  drifting 
over  the  harbor).  See  there!  {Pothinus  runs  eagerly  up  the 
steps  to  look  Old.) 

CiESAR.     What,  ablaze  already!     Impossible! 

RuFio.  Yes,  five  good  ships,  and  a  barge  laden  with  oil 
grappled  to  each.  But  it  is  not  my  doing:  the  Egyptians  have 
saved  me  the  trouble.     They  have  captured  the  west  harbor. 

C^SAR  {anxiously).  And  the  east  harbor?  The  light- 
house, Rufio? 


48  Caesar  and  Cleopatra  Act  n 

Runo  (with  a  sudden  splutter  of  raging  HI  usage,  coming 
down  to  CoEsar  and  scolding  him).  Can  I  embark  a  legion  in 
five  minutes  ?  The  first  cohort  is  already  on  the  beach.  We 
can  do  no  more.  If  you  want  faster  work,  come  and  do  it 
yourself? 

C.SSAR  (soothing  him).  Good,  good.  Patience,  Rufio, 
patience. 

Rufio.  Patience!  Who  is  impatient  here,  you  or  I? 
Would  I  be  here,  if  I  could  not  oversee  them  from  that  bal- 
cony? 

CvESAR.  Forgive  me,  Rufio;  and  (anxiously)  hurry  them 
as  much  as 

He  is  interrupted  by  an  outcry  as  of  an  old  man  in  the  ex- 
tremity of  misfortune.  It  draws  near  rapidly;  and  Theodotus 
rushes  in,  tearing  his  hair,  and  squeaking  the  most  lamentable 
exclamations.  Rufio  steps  back  to  stare  at  him,  amazed  at  his 
frantic  condition.     Pothiniis  turns  to  listen. 

Theodotus  (on  the  steps,  with  uplifted  arms).  Horror 
unspeakable!    Woe,  alas!     Help! 

Rufio.     What  now  ? 

Cesar  (frowning).     Who  is  slain? 

Theodotus.  Slain!  Oh,  worse  than  the  death  of  ten 
thousand  men!     Loss  irreparable  to  mankind! 

Rufio.     What  has  happened,  man? 

Theodotus  (rushing  down  the  hall  between  them).  The 
fire  has  spread  from  your  ships.  The  first  of  the  seven  won- 
ders of  the  world  perishes.  The  library  of  Alexandria  is  in 
flames. 

Runo.  Psha!  (Quite  relieved,  he  goes  up  to  the  loggia 
and  watdt/es  the  preparations  of  the  troops  on  the  beach.) 

Cjesar.     Is  ihai  all? 

Theodotus  (unable  to  believe  his  senses).  All!  Caesar:  will 
you  go  down  to  posterity  as  a  barbarous  soldier  too  ignorant 
to  know  the  value  of  books? 

Cesar.  Theodotus:  I  am  an  author  myself;  and  I  tell 
you  it  is  better  that  the  Egyptians  should  live  their  Uves  than 
dream  them  away  with  the  help  of  books. 


Act  n  Caesar  and  Cleopatra  49 

Theodotus  {kneeling,  with  genuine  literary  emotion:  the 
passion  of  the  pedarU).  Caesar:  once  in  ten  generations  of 
men,  the  world  gains  an  immortal  book. 

Cesar  (inflexible).  If  it  did  not  flatter  mankind,  the 
common  executioner  would  bum  it. 

Theodotus.  Without  history,  death  would  lay  you  be- 
side your  meanest  soldier. 

CAESAR.  Death  will  do  that  in  any  case.  I  ask  no  better 
grave. 

Theodotus.  What  is  burning  there  is  the  memory  of 
mankind. 

CiESAR.     A  shameful  memory.     Let  it  bum. 

Theodotus  (wildly).     Will  you  destroy  the  past? 

CyESAR.  Ay,  and  build  the  future  with  its  ruins.  (Theo- 
dotus, in  despair,  strikes  himself  on  the  temjdes  with  his  fists.) 
But  harken,  Theodotus,  teacher  of  kings:  you  who  valued 
Pompey's  head  no  more  than  a  shepherd  values  an  onion, 
and  who  now  kneel  to  me,  with  tears  in  your  old  eyes,  to 
plead  for  a  few  sheepskins  scrawled  with  errors.  I  cannot 
spare  you  a  man  or  a  bucket  of  water  just  now;  but  you  shall 
pass  freely  out  of  the  palace.  Now,  away  with  you  to  Achillas ; 
and  borrow  his  legions  to  put  out  the  fire.  (He  hurries  him 
to  the  steps.) 

Pothinus  (significantly).  You  understand,  Theodotus:  I 
remain  a  prisoner. 

Theodotus.    A  prisoner! 

CiESAR.  Will  you  stay  to  talk  whilst  the  memory  of  man- 
kind is  burning?  (Calling  through  the  loggia)  Ho  there! 
Pass  Theodotus  out.     (To  Theodotus)  Away  with  you. 

Theodotus  (to  Pothinus).  I  must  go  to  save  tiie  library. 
(He  hurries  out.) 

C^SAR.  Follow  him  to  the  gate,  Pothinus.  Bid  him  urge 
your  people  to  kill  no  more  of  my  soldiers,  for  your  sake. 

Pothinus.  My  life  will  cost  you  dear  if  you  take  it, 
Caesar.     (He  goes  out  after  Theodotus.) 

Rufio,  absorbed  in  watching  the  embarkation^  does  not  notice 
the  departure  of  the  two  Egyptians^ 


50  Caesar  and  Cleopatra  Act  n 

RuFio  (skcntting  from  the  loggia  to  the  beach).  All  ready, 
there? 

A  Centurion  Qrom  below).  All  ready.  We  wait  for 
Caesar. 

CAESAR.  Tell  them  Caesar  is  coming — the  rogues!  {Catt- 
ing) Britannicus.  {This  magniloquent  version  of  his  secre- 
tary's name  is  one  of  Ccesar's  jokes.  In  later  years  it  would 
have  m^ant,  quite  seriously  and  officially.  Conqueror  of  Britain.) 

Rtjfio  {calling  doum).  Push  off,  all  except  the  longboat. 
Stand  by  it  to  embark,  Caesar's  guard  there.  {He  leaves  the 
balcony  and  comes  down  into  the  hall.)  Where  are  those 
Egyptians?  Is  this  more  clemency?  Have  you  let  them 
go? 

Cesar  {chuckling).  I  have  let  Theodotus  go  to  save  the 
library.     We  must  respect  literature,  Rufio. 

RuFio  {raging).  Folly  on  folly's  head!  I  believe  if  you 
could  bring  back  all  the  dead  of  Spain,  Gaul  and  Thessaly 
to  life,  you  would  do  it  that  we  might  have  the  trouble  of 
fighting  them  over  again. 

CiESAR.  Might  not  the  gods  destroy  the  world  if  their 
only  thought  were  to  be  at  peace  next  year?  {Rufio,  out  of 
all  patience,  turns  away  in  anger.  Cassar  suddenly  grips  his 
sleeve,  and  adds  slyly  in  his  ear)  Besides,  my  friend:  every 
Egyptian  we  imprison  means  imprisoning  two  Roman  sol- 
diers to  guard  him.     Eh? 

Rupio.  Agh!  I  might  have  known  there  was  some  fox's 
trick  behind  your  fine  talking.  {He  gets  away  from  Coesar 
with  an  ill-humored  shrug,  and  goes  to  the  balcony  for  another 
look  at  the  preparations;  finally  goes  out.) 

C^SAR.  Is  Britannus  asleep?  I  sent  him  for  my  armor 
an  hour  ago.  {Calling)  Britannicus,  thou  British  islander. 
Britannicus! 

Cleopatra  runs  in  through  the  loggia  with  Ccesar's  helmet 
and  sivord,  snatched  from  Britannus,  who  follows  her  with  a 
cuirass  and  greaves.  They  come  down  to  Ccesar,  she  to  his 
left  hand,  Britannus  to  his  right. 

Cleopatra.     I  am  going  to  dress  you,  Ccesar.     Sit  down. 


Act  II  Caesar  and  Cleopatra  51 

{He  obeys.)  These  Roman  helmets  are  so  becoming!  {She 
takes  off  his  wreath.)     Oh!     (She  bursts  out  laughing  at  him.) 

Ciy:sAR.     What  are  you  laughing  at? 

Cleopatra.  You're  bald  (beginning  with  a  big  B,  and 
ending  with  a  splvtter). 

Cesar  (almost  annoyed).  Cleopatra!  (He  rises,  for  the 
convenience  of  Briianniis,  who  puts  the  cuirass  on  him.) 

Cleopatra.  So  that  is  why  you  wear  the  wreath — to 
hide  it. 

Britannus.  Peace,  Egyptian:  they  are  the  bays  of  the 
conqueror.     (He  buckles  the  cuirass.) 

Cleopatra.  Peace,  thou:  islander!  (To  Ccesar)  You 
should  rub  your  head  with  strong  spirits  of  sugar,  Csesar. 
That  will  make  it  grow. 

CyESAR  (with  a  wry  face).  Cleopatra:  do  you  like  to  be 
reminded  that  you  are  very  young? 

Cleopatra  (pouting).    No. 

C^SAR  (sitting  down  again,  and  setting  out  his  leg  for 
Britannus,  who  kneels  to  put  on  his  greaves).  Neither  do  I 
like  to  be  reminded  that  I  am — middle  aged.  Let  me  give 
you  ten  of  my  superfluous  years.  That  will  make  you  26, 
and  leave  me  only — no  matter.     Is  it  a  bargain? 

Cleopatra.  Agreed.  26,  mind.  (She  puts  the  helmet  on 
him.)     Oh!    How  nice!    You  look  only  about  50  in  it! 

Britannus  (looking  up  severely  at  Cleopatra).  You  must 
not  speak  in  this  manner  to  Csesar. 

Cleopatra.  Is  it  true  that  when  Caesar  caught  you  on 
that  island,  you  were  painted  all  over  blue? 

Britannus.  Blue  is  the  color  worn  by  all  Britons  of  good 
standing.  In  war  we  stain  our  bodies  blue;  so  that  though 
our  enemies  may  strip  us  of  our  clothes  and  our  lives,  they 
cannot  strip  us  of  our  respectability.     (He  rises.) 

Cleopatra  (urith  Cossars  sword).  Let  me  hang  this  on. 
Now  you  look  splendid.  Have  they  made  any  statues  of 
you  in  Rome? 

Cesar.     Yes,  many  statues. 

Cleopatra.     You  must  send  for  one  and  give  it  to  me. 


52  Cassar  and  Cleopatra  Act  II 

RuFio  (coming  back  into  the  loggia,  more  impatient  than 
ever).  Now  Csesar:  have  you  done  talking?  The  moment 
your  foot  is  aboard  there  will  be  no  holding  our  men  back: 
the  boats  will  race  one  another  for  the  lighthouse. 

C.(ESAR  {drawing  his  sword  and  trying  the  edge).  Is  this 
well  set  to-day,  Britannicus?  At  Pharsalia  it  was  as  blunt  as 
a  barrel-hoop. 

Britannus.  It  will  split  one  of  the  Egyptian's  hairs 
to-day,  CtEsar.     I  have  set  it  myself. 

Cleopatra  {suddenly  throwing  her  arms  in  terror  round 
Caesar).  Oh,  you  are  not  really  going  into  battle  to  be 
killed.' 

C^ESAK.  No,  Cleopatra.  No  man  goes  to  battle  to  be 
killed. 

Cleopatra.  But  they  d  o  get  killed.  My  sister's  husband 
was  killed  in  battle.  You  must  not  go.  Let  h  i  m  go  {point- 
ing to  Rufio.  They  all  laugh  at  her).  Oh  please,  please 
don't  go.     What  will  happen  to  m  e  if  you  never  come  back? 

C.ESAR  {gravely).     Are  you  afraid? 

Cleopatra  {shrinking).     No. 

CiESAR  {vrith  quiet  authority).  Go  to  the  balcony;  and 
you  shall  see  us  take  the  Pharos.  You  must  leam  to  look  on 
battles.  Go.  {She  goes,  downcast,  and  looks  out  from,  the 
balcony.)     That  is  well.     Now,  Rufio.     March. 

Cleopatra  {suddenly  clapping  her  hands).  Oh,  you  will 
not  be  able  to  go! 

CiESAR.    Why?    What  now? 

Cleopatra.  They  are  drying  up  the  harbor  with  buckets 
— a  multitude  of  soldiers — over  there  {pointing  out  across 
the  sea  to  her  left) — they  are  dipping  up  the  water. 

RiTEio  {hastening  to  look).  It  is  true.  The  Egyptian  army ! 
Crawling  over  the  edge  of  the  west  harbor  like  locusts.  {WUh 
sudden  anger  he  strides  down  to  Cassar.)  This  is  your  accursed 
clemency,  Caesar.     Theodotus  has  brought  them. 

C^SAR  {delighted  at  his  own  cleverness).  I  meant  him  to, 
Rufio.  They  have  come  to  put  out  the  fire.  The  library 
will  keep  them  busy  whilst  we  seize  the  hghthouse.     Eh? 


Act  n  CaBsar  and  Cleopatra  53 

(He  rushes  end  buoyantly  through  the  loggia,  followed  by 
Britanntis.) 

RuFio  {disgustedly).  More  foxing!  Agh!  (He  rushes 
off.  A  shout  from  the  soldiers  announces  the  appearance  of 
CcBsar  below.) 

Centurion  (below).  All  aboard.  Give  way  there.  (An- 
other shout.) 

Cleopatra  (waving  her  scarf  through  the  loggia  arch). 
Goodbye,  goodbye,  dear  Csesar.  Come  back  safe.  Good- 
bye! 

END   OF  ACT  XL 


ACT  m 

The  edge  of  the  quay  in  front  of  the  palace,  looking  otct 
west  over  the  east  harbor  of  Alexandria  to  Pharos  islatid,  just 
off  the  end  of  which,  and  connected  with  it  by  a  narrow  mole, 
is  the  famous  lighthouse,  a  gigantic  square  totcer  of  white 
marble  diminishing  in  size  storey  by  storey  to  the  top,  on  which 
stands  a  cresset  beacon.  The  island  is  joined  to  the  main  latid 
by  the  Heptastadium,  a  great  mole  or  causeway  five  miles  long 
bounding  the  harbor  on  the  sotdh. 

In  the  middle  of  the  quay  a  Roman  sentinel  stands  on  guard, 
pilum  in  hand,  looking  ovt  to  the  lighthouse  with  strained 
attention,  his  left  hand  shading  his  eyes.  The  pilum  is  a 
stout  wooden  shaft  4|  feet  long,  with  an  iron  spit  about  three 
feel  long  fixed  in  it.  The  sentinel  is  so  absorbed  that  he  does 
not  notice  the  approach  from,  the  north  end  of  the  quay  of  four 
Egyptian  market  porters  carrying  rolls  of  carpet,  preceded  by 
Ftatateeta  and  Apollodorus  the  Sicilian.  Apollodorus  is  a 
dashing  young  man  of  about  24,  handsome  and  debonair, 
dressed  with  deliberate  cesthetidsm  in  the  most  delicate  purples 
and  dove  greys,  with  ornaments  of  bronze,  oxydized  silver, 
and  stones  of  jade  and  agate.  His  sword,  designed  as  care- 
fully as  a  medieval  cross,  has  a  blued  blade  showing  through 
an  openwork  scabbard  of  purple  leather  and  filagree.  The 
porters,  conducted  by  Ftatateeta,  pass  along  the  quay  behind 
the  sentinel  to  the  steps  of  the  palace,  v^here  they  put  down 
their  bales  and  squat  on  the  ground.  Apollodorus  does  not 
pass  along  with  them:  he  halts,  amused  by  the  preoccupation  of 
the  sentinel. 

Apollodorus  (calling  to  the  sentinel).  Who  goes  there, 
eh? 


Act  III  Caesar  and  Cleopatra  55 

Sentinel  (starting  violently  and  turning  with  his  pilum  at 
the  charge,  revealing  himself  as  a  small,  wiry,  sandy-haired, 
conscientious  young  man  with  an  elderly  face).  What's  this? 
Stand.     Who  are  you? 

Apollodorus.  I  am  ApoUodorus  the  Sicilian.  Why, 
man,  what  are  you  dreaming  of?  Since  I  came  through  the 
lines  beyond  the  theatre  there,  I  have  brought  my  caravan 
past  three  sentinels,  all  so  busy  staring  at  the  lighthouse  that 
not  one  of  them  challenged  me.     Is  this  Roman  discipline? 

Sentinel.  We  are  not  here  to  watch  the  land  but  the 
sea.  Caesar  has  just  landed  on  the  Pharos.  (Looking  at 
Ftatateeta)  What  have  you  here?  Who  is  this  piece  of 
Egyptian  crockery  ? 

FTATATEETA.  Apollodorus:  rebuke  this  Roman  dog;  and 
bid  him  bridle  his  tongue  in  the  presence  of  Ftatateeta,  the 
mistress  of  the  Queen's  household. 

Apollodorus.  My  friend:  this  is  a  great  lady,  who 
stands  high  with  Caesar. 

Sentinel  (not  at  all  imjrressed,  pointing  to  the  carpets). 
And  what  is  all  this  truck? 

Apollodorus.  Carpets  for  the  furnishing  of  the  Queen's 
apartments  in  the  palace.  I  have  picked  them  from  the  best 
carpets  in  the  worid;  and  the  Queen  shall  choose  the  best  of 
my  choosing. 

Sentinel.     So  you  are  the  carpet  merchant? 

Apollodorus  (hurt).     My  friend:  I  am  a  patrician. 

Sentinel.  A  patrician!  A  patrician  keeping  a  shop  in- 
stead of  following  arms! 

Apollodorus.  I  do  not  keep  a  shop.  Mine  is  a  temple 
of  the  arts.  I  am  a  worshipper  of  beauty.  My  calling  is  to 
choose  beautiful  things  for  beautiful  Queens.  My  motto  is 
Art  for  Art's  sake. 

Sentinel.    That  is  not  the  password. 

Apollodorus.     It  is  a  universal  password. 

Sentinel.  I  know  nothing  about  universal  passwords. 
Either  give  me  the  password  for  the  day  or  get  back  to  your 
shop. 


56  Caesar  and  Cleopatra  Act  m 

Ftatateeta,  roused  by  his  hostile  tone,  steals  towards  the  edge 
of  the  quay  with  the  step  of  a  panther,  and  gets  behind  him. 

Apollodorus.     How  if  I  do  neither? 

Sentinel.    Then  I  wUl  drive  this  pilum  through  you. 

Apollodorus.  At  your  service,  my  friend.  (He  draws 
his  sword,  and  springs  to  his  guard  with  unruffled  grace.) 

Ftatateeta  (suddenly  seizing  the  sentinel's  arms  from 
behind).  Thrust  your  knife  into  the  dog's  throat,  Apollo- 
dorus. (The  chivalrous  Apollodorus  laughingly  shakes  his 
head;  breaks  ground  away  from  the  sentinel  towards  the  palace; 
and  lowers  his  point.) 

Sentinel  (struggling  vainly).  Curse  on  you!  Let  me  go. 
Help  ho! 

Ftatateeta  (lifting  him  from  the  ground).  Stab  the  little 
Roman  reptile.     Spit  him  on  your  sword. 

A  couple  of  Roman  soldiers,  with  a  centurion,  come  running 
along  the  edge  of  the  quay  from  the  north  end.  They  rescue 
their  comrade,  and  throw  off  Ftatateeta,  who  is  sent  reeling 
away  on  the  left  hand  of  the  sentinel. 

Centurion  (an  unattractive  mun  of  fifty,  short  in  his 
speech  and  manners,  with  a  vine  wood  cudgel  in  his  hand). 
How  now?    What  is  all  this? 

Ftatateeta  (to  Apollodorus).  Why  did  you  not  stab  him? 
There  was  time! 

Apollodorus.  Centurion:  I  am  here  by  order  of  the 
Queen  to 

Centurion  (interrupting  him).  The  Queen!  Yes,  yes: 
(to  the  sentinel)  pass  him  in.  Pass  all  these  bazaar  people 
in  to  the  Queen,  with  their  goods.  But  mind  you  pass  no  one 
out  that  you  have  not  passed  in — ^not  even  the  Queen  her- 
self. 

Sentinel.  This  old  woman  is  dangerous:  she  is  as  strong 
as  three  men.     She  wanted  the  merchant  to  stab  me. 

Apollodorus.  Centurion :  I  am  not  a  merchant.  I  am  a 
patrician  and  a  votary  of  art. 

Centurion.     Is  the  woman  your  wife? 

Apollodorus   (horrified).    No,   no!    (Correcting  himself 


Act  ni  Csesar  and  Cleopatra  57 

politely)  Not  that  the  lady  is  not  a  striking  figure  in  her 
own  way.     But  {emphatically)  she  is  n  o  t  my  wife. 

P^ATATEETA  (to  the  Cetiturion).  Roman:  I  am  Ftatateeta, 
the  mistress  of  the  Queen's  household. 

Centurion.  Keep  your  hands  off  our  men,  mistress;  or 
I  will  have  you  pitched  into  the  harbor,  though  you  were  as 
strong  as  ten  men.  {To  his  men)  To  your  posts:  march! 
{He  returns  with  his  men  the  way  they  came.) 

Ptatateeta  {looking  malignantly  after  him).  We  shall  see 
whom  Isis  loves  best:  her  servant  Ftatateeta  or  a  dog  of  a 
Roman. 

Sentinel  {to  Apollodorus,  with  a  wave  of  his  pilum  towards 
the  palace).  Pass  in  there;  and  keep  your  distance.  {Turn- 
ing to  Ftatateeta)  Come  within  a  yard  of  me,  you  old  croco- 
dile; and  I  will  give  you  this  {the  pilum)  in  your  jaws. 

Cleopatra  {calling  from  the  palace).  Ftatateeta,  Ftata- 
teeta. 

Ftatateeta  {looking  up,  scandalized).  Go  from  the  win- 
dow, go  from  the  window.    There  are  men  here. 

Cleopatra.     I  am  coming  down. 

Ftatateeta  {distracted).  No,  no.  What  are  you  dream- 
ing of?  O  ye  gods,  ye  gods!  Apollodorus:  bid  your  men 
pick  up  your  bales;  and  in  with  me  quickly. 

Apollodorus.  Obey  the  mistress  of  the  Queen's  house- 
hold. 

Ftatateeta  {impatiently,  as  the  porters  stoop  to  lift  the 
bales).  Quick,  quick:  she  will  be  out  upon  us.  {Cleopatra 
comes  from  the  palace  and  runs  across  the  quay  to  Ftatateeta.) 
Oh  that  ever  I  was  bom ! 

Cleopatra  {eagerly).  Ftatateeta:  I  have  thought  of  some- 
thing.    I  want  a  boat — at  once. 

Ftatateeta.  A  boat!  No,  no:  you  cannot.  Apollo- 
dorus: speak  to  the  Queen. 

Apollodorus  {gallantly).  Beautiful  queen:  I  am  Apollo- 
dorus the  Sicilian,  your  servant,  from  the  bazaar.  I  have 
brought  you  the  three  most  beautiful  Persian  carpets  in  the 
world  to  choose  from. 


58  Caesar  and  Cleopatra  Act  III 

Cleopatra.  I  have  no  time  for  carpets  to-day.  Get  me 
a  boat. 

Ptatateeta.  What  whim  is  this  ?  You  camiot  go  on  the 
water  except  in  the  royal  barge. 

Apollodorus.  Royalty,  Ftatateeta,  lies  not  in  the 
barge  but  in  the  Queen.  (To  Cleopatra)  The  touch  of 
your  majesty's  foot  on  the  gunwale  of  the  meanest  boat 
in  the  harbor  will  make  it  royal.  (He  turns  to  the  harbor 
and  calls  seaward)  Ho  there,  boatman!  Pull  in  to  the 
steps. 

Cleopatra.  Apollodorus:  you  are  my  perfect  knight; 
and  I  will  always  buy  my  carpets  through  you.  (Apollodorus 
bows  joyously.  An  oar  appears  above  the  quay;  and  the  boat- 
man, a  bidld-headed,  vivacious,  grinning  fellow,  burnt  almost 
black  by  the  sun,  comes  up  a  flight  of  steps  from  the  water  on 
the  sentinel's  right,  oar  in  hand,  and  waits  at  the  top.)  Can 
you  row,  Apollodorus? 

Apollodorus.  My  oars  shall  be  your  majesty's  wings. 
Whither  shall  I  row  my  Queen  ? 

Cleopatra.  To  the  lighthouse.  Come.  (She  makes  for 
the  steps.) 

Sentinel  (opposing  her  with  his  pUum  at  the  charge). 
Stand.     You  cannot  pass. 

Cleopatra  (flushing  angrily).  How  dare  you?  Do  you 
know  that  I  am  the  Queen  ? 

Sentinel.     I  have  my  orders.     You  cannot  pass. 

Cleopatra.  I  will  make  Caesar  have  you  killed  if  you  do 
not  obey  me. 

Sentinel.  He  will  do  worse  to  me  if  I  disobey  my  officer. 
Stand  back. 

Cleopatra.     Ftatateeta:  strangle  him. 

Sentinel  (alarmed — looking  apprehensively  at  Ftatateeta, 
and  brandishing  his  pilum).     Keep  off,  there. 

Cleopatra  (running  to  Apollodorus).  Apollodorus:  make 
your  slaves  help  us. 

Apollodorus.  I  shall  not  need  their  help,  lady.  (He 
draws  his  sword.)     Now,  soldier:  choose  which  weapon  you 


Act  in  Caesar  and  Cleopatra  59 

will  defend  yourself  with.  Shall  it  be  sword  against  pilum, 
or  sword  against  sword  ? 

Sentinel.  Roman  against  Sicilian,  ourse  you.  Take  that. 
(He  hurls  his  pilum  at  Apollodorus,  who  drops  expertly  on  one 
knee.  The  pilum  passes  whizzing  over  his  head  and  falls 
harmless.  Apollodorus,  with  a  cry  of  trium,ph,  springs  up  and 
attacks  the  sentinel,  who  draws  his  sword  and  defends  himself, 
crying)  Ho  there,  guard.     Help! 

Cleopatra,  half  frightened,  half  delighted,  takes  refuse 
near  the  palace,  where  the  porters  are  sqvMting  among  the 
bales.  The  boatman,  alarmed,  hurries  down  the  steps  out  of 
harm's  way,  but  stops,  with  his  head  just  visible  above  the 
edge  of  the  quay,  to  watch  the  fight.  The  sentinel  is  handi- 
capped by  his  fear  of  an  attack  in  the  rear  from  Ftatateeta. 
His  swordsmanship,  which  is  of  a  rough  and  ready  sort,  is 
heavily  taxed,  as  he  has  occasionally  to  strike  at  her  to  keep 
her  off  between  a  blow  and  a  guard  with  Apollodorus.  The 
Centurion  returns  with  several  soldiers.  Apollodorus  springs 
back  towards  Cleopatra  as  this  reinforcement  confronts  him. 

Centurion  (coming  to  the  sentinel's  right  hand).  What 
is  this?    What  now.' 

Sentinel  (panting).  I  could  do  well  enough  by  myself  if 
it  weren't  for  the  old  woman.  Keep  her  off  me:  that  is  all 
the  help  I  need. 

Centurion.  Make  your  report,  soldier.  What  has  hap- 
pened? 

Ptatateeta.     Centurion:  he  would  have  slain  the  Queen. 

Sentinel  (bluntly).  I  would,  sooner  than  let  her  pass. 
She  wanted  to  take  boat,  and  go — so  she  said — to  the  light- 
house. I  stopped  her,  as  I  was  ordered  to;  and  she  set  this 
fellow  on  me.  (He  goes  to  pick  up  his  pilum  and  returns  to 
his  place  with  it.) 

Centurion  (turning  to  Cleopatra).  Cleopatra:  I  am  loth 
to  offend  you;  but  without  Caesar's  express  order  we  dare  not 
let  you  pass  beyond  the  Roman  lines. 

Apollodorus.  Well,  Centurion;  and  has  not  the  light- 
house been  within  the  Roman  lines  since  Cajsar  landed  there  ? 


60  Caesar  and  Cleopatra  Act  in 

Cleopatra.    Yes,  yes.    Answer  that,  if  you  can. 

Centurion  (to  Apollodorus).  As  for  you,  ApoUodorus, 
you  may  thank  the  gods  that  you  are  not  nailed  to  the  palace 
door  with  a  pilum  for  your  meddling. 

Apollodorus  (urbanely).  My  military  friend,  I  was  not 
bom  to  be  slain  by  so  ugly  a  weapon.  When  I  fall,  it  will 
be  (holding  up  his  sword)  by  this  white  queen  of  arms,  the 
only  weapon  fit  for  an  artist.  And  now  that  you  are  con- 
vinced that  we  do  not  want  to  go  beyond  the  lines,  let  me 
fim'sh  killing  your  sentinel  and  depart  with  the  Queen. 

Centurion  (as  the  sentinel  makes  an  angry  demonstration). 
Peace  there.  Cleopatra.  I  must  abide  by  my  orders,  and 
not  by  the  subtleties  of  this  Sicilian.  You  must  withdraw 
into  the  palace  and  examine  your  carpets  there. 

Cleopatra  (pouting).  I  will  not:  I  am  the  Queen.  Caesar 
does  not  speak  to  me  as  you  do.  Have  Ca;sar's  centurions 
changed  manners  with  his  scullions? 

Centurion  (sulkily).  I  do  my  duty.  That  is  enough  for 
me. 

Apollodorus.  Majesty:  when  a  stupid  man  is  doing 
something  he  is  ashamed  of,  he  always  declares  that  it  is  his 
duty. 

Centurion  (angry).     Apollodorus 

Apollodorus  (interrupting  him  with  defiant  elegance).  I 
will  make  amends  for  that  insult  with  my  sword  at  fitting 
time  and  place.  Who  says  artist,  says  duellist.  (To  Cleo- 
patra) Hear  my  counsel,  star  of  the  east.  Until  word  comes 
to  these  soldiers  from  Caesar  himself,  you  are  a  prisoner. 
Let  me  go  to  him  with  a  message  from  you,  and  a  present; 
and  before  the  sun  has  stooped  half  way  to  the  arms  of  the  sea, 
I  will  bring  you  back  Caesar's  order  of  release. 

Centurion  (sneering  at  him).  And  you  will  sell  the 
Queen  the  present,  no  doubt. 

Apollodorus.  Centurion:  the  Queen  shall  have  from  me, 
without  payment,  as  the  unforced  tribute  of  Sicilian  taste  to 
Egyptian  beauty,  the  richest  of  these  carpets  for  her  present 
to  Caesar. 


Act  III  Caesar  and  Cleopatra  61 

Cleopatra  {exultantly,  to  the  Centvrion).  Now  you  see 
what  an  ignorant  common  creature  you  are! 

Centurion  (curtly).  Well,  a  fool  and  his  wares  are  soon 
parted.  (He  turns  to  his  men).  Two  more  men  to  this  post 
here;  and  see  that  no  one  leaves  the  palace  but  this  man  and 
his  merchandize.  If  he  draws  his  sword  again  inside  the 
lines,  kill  him.     To  your  posts.     March. 

He  goes  out,  leaving  two  auxiliary  sentinels  with  the  other. 

Apollodorus  {wiih  'polite  goodfellowship).  My  friends: 
will  you  not  enter  the  palace  and  bury  our  quarrel  in  a  bowl 
of  wine?  (He  takes  out  his  purse,  jingling  the  coins  in  it.) 
The  Queen  has  presents  for  you  all. 

Sentinel  (very  sulky).  You  heard  our  orders.  Get  about 
your  business. 

First  Auxiliary.  Yes:  you  ought  to  know  better.  Oflf 
with  you. 

Second  Auxiliary  (looking  longingly  at  the  purse — this 
sentinel  is  a  hooknosed  roan,  unlike  his  comrade,  who  is  squab 
fa^ed).     Do  not  tantalize  a  poor  man. 

Apollodorus  (to  Cleopatra).  Pearl  of  Queens:  the  Cen- 
turion is  at  hand;  and  the  Roman  soldier  is  incorruptible 
when  his  officer  is  looking.  I  must  carry  your  word  to 
Caesar. 

Cleopatra  (who  has  been  meditating  among  the  carpets). 
Are  these  carpets  very  heavy? 

Apollodorus.  It  matters  not  how  heavy.  There  are 
plenty  of  porters. 

Cleopatr.\.  How  do  they  put  the  carpets  into  boats  ?  Do 
they  throw  them  down? 

Apollodorus.  Not  into  small  boats,  majesty.  It  would 
sink  them. 

Cleopatra.  Not  into  that  man's  boat,  for  instance? 
(Pointing  to  the  boatman.) 

Apollodorus.    No.    Too  small. 

Cleopatra.  But  you  can  take  a  carpet  to  Csesar  in  it  if 
I  send  one? 

Apollodorus.     Assuredly. 


62  Cffisar  and  Cleopatra  Act  in 

Cleopatra.  And  you  will  have  it  carried  gently  down  the 
steps  and  take  great  care  of  it? 

Apollodorus.     Depend  on  me. 

Cleopatra.     Great,  great  care  ? 

Apollodorus.     More  than  of  my  own  body. 

Cleopatra.  You  will  promise  me  not  to  let  the  porters 
drop  it  or  throw  it  about? 

Apollodorus.  Place  the  most  delicate  glass  goblet  in  the 
palace  in  the  heart  of  the  roll,  Queen;  and  if  it  be  broken, 
my  head  shall  pay  for  it. 

Cleopatra.  Good.  Come,  Ftatateeta.  (Ftatateeta  conies 
to  her.  Apollodorus  offers  to  squire  them  into  the  palace.)  No, 
Apollodorus,  you  must  not  come.  I  will  choose  a  carpet  for 
myself.    You  must  wait  here.     (She  runs  into  the  palace.) 

Apollodorus  (to  the  porters).  Follow  this  lady  (indicating 
Ftatateeta);  and  obey  her. 

The  porters  rise  and  take  up  their  bales. 

Ftatateeta  (addressing  the  porters  as  if  they  were  vermin). 
This  way.  And  take  your  shoes  off  before  you  put  your  feet 
on  those  stairs. 

She  goes  in,  followed  by  the  porters  with  the  carpets.  Mean- 
while Apollodorus  goes  to  the  edge  of  the  quay  and  looks  out 
over  the  harbor.  The  sentinels  keep  their  eyes  on  him  malig- 
nantly. 

Apollodorus  (addressing  the  sentinel).    My  friend 

Sentinel  (rudely).     Silence  there. 

First  Auxiliary.     Shut  your  muzzle,  you. 

Second  Auxiliary  (in  a  half  whisper,  glancing  apprehen- 
sively towards  the  north  end  of  the  quay) .     Can't  you  wait  a  bit  ? 

Apollodorus.  Patience,  worthy  three-headed  donkey. 
(They  mutter  ferociously;  bid  he  is  not  at  all  intimidated.) 
Listen:  were  you  set  here  to  watch  me,  or  to  watch  the  Egy|>- 
tians? 

Sentinel.     We  know  our  duty. 

Apollodorus.  Then  why  don't  you  do  it?  There  is 
something  going  on  over  there.  (Pointing  southwestward  to 
the  mole.) 


Act  III  Caesar  and  Cleopatra  63 

Sentinel  {svlkily).  I  do  not  need  to  be  told  what  to  do 
by  the  like  of  you. 

Apollodorus.  Blockhead.  (He  begins  shouting)  Ho 
there.  Centurion.     Hoiho! 

Sentinel.  Curse  your  meddling.  (Sheading)  Hoiho! 
Alarm !    Alarm ! 

First  and  Second  Auxiliaries.     Alarm!  alarm!    Hoiho! 

The  Centurion  comes  running  in  with  his  guxird. 

Centurion.  What  now?  Has  the  old  woman  attacked 
you  again?     (Seeing  Afollodorus)  Are  you   here   still? 

Apollodorus  {'pointing  as  before).  See  there.  The  Egyp- 
tians are  moving.  They  are  going  to  recapture  the  Pharos. 
They  will  attack  by  sea  and  land:  by  land  along  the  great 
mole;  by  sea  from  the  west  harbor.  Stir  yourselves,  my 
military  friends:  the  hunt  is  up.  {A  clangor  of  trumpets  from 
several  points  along  the  quay.)     Aha!     I  told  you  so. 

Centurion  {quickly).  The  two  extra  men  pass  the  alarm 
to  the  south  posts.  One  man  keep  guard  here.  The  rest 
with  me — quick. 

The  two  auxiliary  sentinels  run  off  to  the  south.  The 
Centurion  and  his  guard  run  off  northward;  and  immediately 
afterwards  the  bucina  sounds.  The  four  porters  come  from 
the  palace  carrying  a  carpet,  followed  by  Ftatateeta. 

Sentinel  {handling  his  pUum  apprehensively).  You 
again!     {The  porters  stop.) 

Ftatateeta.  Peace,  Roman  fellow:  you  are  now  single- 
handed.  Apollodorus:  this  carpet  is  Cleopatra's  present  to 
Caesar.  It  has  rolled  up  in  it  ten  precious  goblets  of  the 
thinnest  Iberian  crystal,  and  a  hundred  eggs  of  the  sacred 
blue  pigeon.     On  your  honor,  let  not  one  of  them  be  broken. 

Apollodorus.  On  my  head  be  it.  {To  the  porters)  Into 
the  boat  with  them  carefully. 

The  porters  carry  the  carpet  to  the  steps. 

First  Porter  {looking  down  at  the  boat).  Beware  what 
you  do,  sir.  Those  eggs  of  which  the  lady  speaks  must 
weigh  more  than  a  pound  apiece.  This  boat  is  too  small  for 
such  a  load. 


64  Caesar  and  Cleopatra  Act  III 

Boatman  {excitedly  rushing  up  the  steps).  Oh  thou  inju- 
rious porter!  Oh  thou  unnatural  son  of  a  she-camel!  (To 
ApoUodoms)  My  boat,  sir,  hath  often  carried  five  men. 
Shall  it  not  cany  your  lordship  and  a  bale  of  pigeons'  eggs  ? 
{To  the  porter)  Thru  mangey  dromedary,  the  gods  shall  punish 
thee  for  this  envious  wickedness. 

FinsT  Porter  {stolidly).  I  cannot  quit  this  bale  now  to 
beat  thee;  but  another  day  I  will  lie  in  wait  for  thee. 

Apollodorus  {going  between  them).  Peace  there.  If  the 
boat  were  but  a  single  plank,  I  would  get  to  Caesar  on  it. 

Ptatateeta  {anxiously).  In  the  name  of  the  gods,  Apollo- 
dorus, run  no  risks  with  that  bale. 

Apollodorus.  Fear  not,  thou  venerable  grotesque:  I 
guess  its  great  wori;h.  {To  the  porters)  Down  with  it,  I  say; 
and  gently;  or  ye  shall  eat  nothing  but  stick  for  ten  days. 

The  boatman  goes  down  the  steps,  followed  by  the  porters 
with  the  bale:  Ftataieeta  and  Apollodorus  watching  from  the 
edge. 

Apollodorus.  Gently,  my  sons,  my  children — {vnth  sud- 
den alarm)  gently,  ye  dogs.  Lay  it  level  in  the  stern — so — 
'tis  well. 

Ptatateeta  {screaming  dawn  at  one  of  the  porters).  Do 
not  step  on  it,  do  not  step  on  it.     Oh  thou  brute  beast! 

First  Porter  {ascending).  Be  not  excited,  mistress:  all 
is  well. 

Ftatateeta  {panting).  All  well!  Oh,  thou  hast  given 
my  heart  a  turn!     {She  clutches  her  side,  gasping.) 

The  four  porters  have  now  come  up  and  are  waiting  at  the 
stairhead  to  be  paid. 

Apollodorus.  Here,  ye  hungry  ones.  {He  gives  money 
to  the  first  porter,  who  holds  it  in  his  hand  to  shew  to  the  others. 
They  crowd  greedily  to  see  how  mux;h  it  is,  quite  prepared, 
after  the  Eastern  fashion,  to  protest  to  heaven  against  their 
patron's  stinginess.     Bid  his  liberality  overpowers  them.) 

First  Porter.     O  bounteous  prince! 

Second  Porter.     O  lord  of  the  bazaar! 

Third  Porter.    O  favored  of  the  gods! 


Act  in  Csesar  and  Cleopatra  65 

Fourth  Porter.     O  father  to  all  the  porters  of  the  market! 

Sentinel  (enviously,  threatening  them  fiercely  with  his 
pUum).  Hence,  dogs:  off.  Out  of  this.  (They  fly  before 
him  northward  along  the  quay.) 

Apollodorus.  Farewell,  Ftatateeta.  I  shall  be  at  the 
lighthouse  before  the  Egyptians.     {He  descends  the  steps.) 

Ftatateeta.  The  gods  speed  thee  and  protect  my  nursling! 

The  sentry  returns  from  chasing  the  porters  and  looks  down 
at  the  boat,  standing  near  the  stairhead  lest  Ftatateeta  should 
attempt  to  escape. 

Apoiiix)DORUs  (from  beneath,  as  the  boat  moves  off).  Fare- 
well, valiant  pilum  pitcher. 

Sentinel.     Farewell,  shopkeeper. 

Apollodorus.  Ha,  ha!  Pull,  thou  brave' boatman,  pull. 
Soho-o-o-o-o!  (He  begins  to  sing  in  barcarolle  measure  to 
the  rhythm  of  the  oars) 

My  heart,  my  heart,  spread  out  thy  wings: 
Shake  off  thy  heavy  load  of  love — 

Give  me  the  oars,  O  son  of  a  snail. 

Sentinel  (threatening  Ftatateeta).  Now  mistress:  back 
to  your  henhouse.     In  with  you. 

Ftatateeta  (falling  on  her  knees  and  stretching  her  hands 
over  the  waters).  Gods  of  the  seas,  bear  her  safely  to  the 
shore! 

Sentinel.     Bear  who  safely  ?    What  do  you  mean  ? 

Ftatateeta  (looking  darkly  at  him).  Gods  of  Egypt  and 
of  Vengeance,  let  this  Roman  fool  be  beaten  like  a  dog  by  his 
captain  for  suffering  her  to  be  taken  over  the  waters. 

Sentinel.  Accursed  one:  is  she  then  in  the  boat?  (He 
calls  over  the  sea)  Hoiho,  there,  boatman!    Hoiho! 

Apollodorus  (singing  in  the  diMance). 

My  heart,  my  heart,  be  whole  and  free: 
Love  is  thine  only  enemy. 

Meanwhile  Rufio,  the  morning's  fighting  done,  sits  munch- 
ing dates  on  a  faggot  of  brushwood  outside  the  door  of  the 


66  Caesar  and  Cleopatra  Act  ni 

lighthouse ,  which  towers  gigantic  to  the  clouds  on  his  left. 
His  helmet,  full  of  dates,  is  between  his  knees;  and  a  leathern 
bottle  of  wine  is  by  his  side.  Behind  him  the  great  stone  ped- 
estal of  the  lighthouse  is  shut  in  from  the  open  sea  by  a  low 
stone  parapet,  with  a  couple  of  steps  in  the  middle  to  the  broad 
coping.  A  huge  chain  with  a  hook  hangs  down  from  the 
lighthouse  crane  above  his  head.  Faggots  like  the  one  he  sits 
on  lie  beneath  it  ready  to  be  dravm  up  to  feed  the  beacon. 

Ccesar  is  standing  on  the  step  at  the  parapet  looking  out 
anxiously,  evidently  ill  at  ease.  Britannus  comes  out  of  the 
lighthouse  door. 

RuFio.  Well,  my  British  islander.  Have  you  been  up  to 
the  top? 

Britannus.     I  have.     I  reckon  it  at  200  feet  high. 

RuFio.     Anybody  up  there? 

Britannus.  One  elderly  Tynan  to  work  the  crane;  and 
his  son,  a  well  conducted  youth  of  14. 

RuFio  (looking  at  the  chain).  What!  An  old  man  and  a 
boy  work  that!     Twenty  men,  you  mean. 

Britannus.  Two  only,  I  assure  you.  They  have  coun- 
terweights, and  a  machine  with  boiling  water  in  it  which  I  do 
not  understand:  it  is  not  of  British  design.  They  use  it  to 
haul  up  barrels  of  oil  and  faggots  to  burn  in  the  brazier  on 
the  roof. 

RuFio.     But 

Britannus.  Excuse  me:  I  came  down  because  there  are 
messengers  coming  along  the  mole  to  us  from  the  island.  I 
must  see  what  their  business  is.  (He  hurries  out  past  the 
lighthouse.) 

C^SAR  (coming  away  from  the  parapet,  shivering  and  aid 
of  sorts).  Rufio:  this  has  been  a  mad  expedition.  We  shall 
be  beaten.  I  wish  I  knew  how  our  men  are  getting  on  with 
that  barricade  across  the  great  mole. 

Rufio  (angrily).  Must  I  leave  my  food  and  go  starving 
to  bring  you  a  report  ? 

C^SAR  (soothing  him  nervously).  No,  Rufio,  no.  Eat,  my 
son,  eat.     (He  takes  another  turn,  Rufio  chewing  dMes  mean- 


Act  in  Cfiesar  and  Cleopatra  67 

while.)  The  Egyptians  cannot  be  such  fools  as  not  to  storm 
the  barricade  and  swoop  down  on  us  here  before  it  is  finished. 
It  is  the  first  time  I  have  ever  run  an  avoidable  risk.  I 
should  not  have  come  to  Egypt. 

RuFio.     An  hour  ago  you  were  all  for  victory. 

CvESAR  (apologeticaUy) .  Yes:  I  was  a  fool — rash,  Rufio — 
boyish. 

Rufio.  Boyish!  Not  a  bit  of  it.  Here.  (Offering  him  a 
handful  of  dates.) 

CiESAH.     What  are  these  for? 

Rufio.  To  eat.  That's  what's  the  matter  with  you. 
When  a  man  comes  to  your  age,  he  runs  down  before  his 
midday  meal.  Eat  and  drink;  and  then  have  another  look 
at  our  chances. 

C^SAR  (taking  the  dates).  My  age!  (He  shakes  his  head 
and  bites  a  date.)  Yes,  Rufio:  I  am  an  old  man — worn  out 
now — true,  quite  true.  (He  gives  way  to  melancholy  con- 
templation, and  eats  another  date.)  Achillas  is  still  in  his 
prime:  Ptolemy  is  a  boy.  (He  eats  another  date,  and  plucks 
up  a  little.)  Well,  every  dog  has  his  day;  and  I  have  had 
mine:  I  cannot  complain.  (With  sudden  cheerfulness)  These 
dates  are  not  bad,  Rufio.  (Britannu^  returns,  greatly  excited, 
with  a  leathern  bag.  Caesar  is  himself  again  in  a  moment.) 
What  now? 

Brit  ANNUS  (triumphantly).  Our  brave  Rhodian  mariners 
have  captured  a  treasure.  There!  (He  throws  the  bag  down 
at  Caesar^s  feet.)     Our  enemies  are  delivered  into  our  hands. 

C^SAR.    In  that  bag  ? 

Britannus.  Wait  till  you  hear,  Caesar.  This  bag  con- 
tains all  the  letters  which  have  passed  between  Pompey's 
party  and  the  army  of  occupation  here. 

C^SAR.     Well? 

Britannus  (impatient  of  Caesar's  slowness  to  grasp  the 
situation).  Well,  we  shall  now  know  who  your  foes  are. 
The  name  of  every  man  who  has  plotted  against  you  since  you 
crossed  the  Rubicon  may  be  in  these  papers,  for  all  we  know. 

C^3ESAR.    Put  them  in  the  fire. 


68  Caesar  and  Cleopatra  Act  HI 

Britanntjs.     Put  them — (he  gasps)  VM 

CiESAR.  In  the  fire.  Would  you  have  me  waste  the  next 
three  years  of  my  life  in  proscribing  and  condemning  men 
who  will  be  my  friends  when  I  have  proved  that  my  friend- 
ship is  worth  more  than  Pompey's  was — than  Cato's  is.  O 
incorrigible  British  islander:  am  I  a  bull  dog,  to  seek  quarrels 
merely  to  shew  how  stubborn  my  jaws  are? 

Britannus.     But  your  honor — the  honor  of  Rome 

CiESAR.  I  do  not  make  human  sacrifices  to  my  honor,  as 
your  Druids  do.  Since  you  will  not  bum  these,  at  least  I  can 
drown  them.  (He  picks  up  the  bag  and  throws  it  over  the 
parapet  into  the  sea.) 

Britannus.  Caesar:  this  is  mere  eccentricity.  Are  traitors 
to  be  allowed  to  go  free  for  the  sake  of  a  paradox? 

RuFio  (rising).  Caesar:  when  the  islander  has  finished 
preaching,  call  me  again.  I  am  going  to  have  a  look  at  the 
boiling  water  machine.     (He  goes  into  the  lighthouse.) 

Britannus  (with  genuine  feeling).  O  Caesar,  my  great 
master,  if  I  could  but  persuade  you  to  regard  life  seriously, 
as  men  do  in  my  country! 

CiESAR.     Do  they  truly  do  so,  Britannus  ? 

Britannus.  Have  you  not  been  there?  Have  you  not 
seen  them  ?  What  Briton  speaks  as  you  do  in  your  moments 
of  levity  ?  What  Briton  neglects  to  attend  the  services  at  the 
sacred  grove?  What  Briton  wears  clothes  of  many  colors  as 
you  do,  instead  of  plain  blue,  as  all  solid,  well  esteemed  men 
should?    These  are  moral  questions  with  us. 

Caesar.  Well,  well,  my  friend:  some  day  I  shall  settle 
down  and  have  a  blue  toga,  perhaps.  Meanwhile,  I  must 
get  on  as  best  I  can  in  my  flippant  Roman  way.  (Apollo- 
dorus  comes  past  the  lighthouse)     What  now  ? 

Britannus  (turning  quickly,  and  challenging  the  stranger 
with  official  haughtiness).  What  is  this?  Who  are  you? 
How  did  you  come  here? 

Apollodorus.  Calm  yourself,  my  friend:  I  am  not  going 
to  eat  you.  I  have  come  by  boat,  from  Alexandria,  with 
precious  gifts  for  Caesar. 


Act  m  Csesar  and  Cleopatra  69 

CiESAR.    From  Alexandria! 

Bbitannus  {severely).    That  is  Csesar,  sir. 

RuFio  (appearing  at  the  lighthouse  door).  "What's  the 
matter  now  ? 

Apollodorus.  Hail,  great  Caesar!  I  am  ApoUodorus  the 
Sicilian,  an  artist. 

Britanntjs.  An  artist!  Why  have  they  admitted  this 
vagabond  ? 

C^SAR.  Peace,  man.  Apollodorus  is  a  famous  patrician 
amateur 

Britanntjs  (disconcerted).  I  crave  the  gentleman's  par- 
don. (To  CcBsar)  I  understood  him  to  say  that  he  was  a 
professional.  (Somewhat  out  of  countenance,  he  allows 
Apollodorus  to  approach  Ccesar,  changing  places  with  him. 
Rufio,  after  looking  Apollodorus  up  and  down  with  marked 
disparagement,  goes  to  the  other  side  of  the  platform.) 

CAESAR.  You  are  welcome,  Apollodorus.  What  is  your 
business  ? 

Apollodorus.  First,  to  deliver  to  you  a  present  from  the 
Queen  of  Queens. 

Cesar.    Who  is  that? 

Apollodorus.    Cleopatra  of  Egypt. 

C^SAR  (taking  him  into  his  confidence  in  his  most  vrinning 
manner).  Apollodorus:  this  is  no  time  for  playing  with 
presents.  Pray  you,  go  back  to  the  Queen,  and  tell 
her  that  if  all  goes  well  I  shall  return  to  the  palace  this 
evening. 

Apollodorus.  Csesar:  I  cannot  return.  As  I  approached 
the  lighthouse,  some  fool  threw  a  great  leathern  bag  into  the 
sea.  It  broke  the  nose  of  my  boat;  and  I  had  hardly  time  to 
get  myself  and  my  charge  to  the  shore  before  the  poor  little 
cockleshell  sank. 

Cesar.  I  am  sorry,  Apollodorus.  The  fool  shall  be  re- 
buked. Well,  well:  what  have  you  brought  me?  The 
Queen  will  be  hurt  if  I  do  not  look  at  it. 

Rufio.  Have  we  time  to  waste  on  this  trumpery?  The 
Queen  is  only  a  child. 


70  Cffisar  and  Cleopatra  Act  in 

CAESAR.  Just  so:  that  is  why  we  must  not  disappoint  her. 
What  is  the  present,  Apollodorus? 

Apollodorus.  Caesar:  it  is  a  Persian  carpet — a  beauty! 
And  in  it  are — so  I  am  told — pigeons'  eggs  and  crystal  gob- 
lets and  fragile  precious  things.  I  dare  not  for  my  head 
have  it  carried  up  that  narrow  ladder  from  the  causeway. 

RuFio.  Swing  it  up  by  the  crane,  then.  We  will  send 
the  eggs  to  the  cook;  drink  our  wine  from  the  goblets;  and 
the  carpet  will  make  a  bed  for  Caesar. 

Apollodorus.  The  crane!  Caesar:  I  have  sworn  to 
tender  this  bale  of  carpet  as  I  tender  my  own  life. 

CAESAR  (cheerfully).  Then  let  them  swing  you  up  at  the 
same  time;  and  if  the  chain  breaks,  you  and  the  pigeons' 
eggs  will  perish  together.  (He  goes  to  the  chain  and  looks  up 
along  it,  examining  it  curiously.) 

Apollodorus  (to  Britannus).     Is  Caesar  serious? 

Britannus.  His  manner  is  frivolous  because  he  is  an 
Itahan;  but  he  means  what  he  says. 

Apollodorus.     Serious  or  not,  he  spake  well.     Give  me 
a  squad  of  soldiers  to  work  the  crane. 

Britannus.  Leave  the  crane  to  me.  Go  and  await  the 
descent  of  the  chain. 

Apollodorus.     Good.     You  will  presently  see  me  there 
(turning  to  them  all  and   pointing  with  an  el.oquent  gesture  . 
to  the  sky  above  the  parapet)  rising  like  the  sun  with  my 
treasure. 

He  goes  hack  the  way  he  cam^.  Britannus  goes  into  the 
lighthouse. 

RuFio  (ill-humoredly).  Are  you  really  going  to  wait  here 
for  this  foolery,  Caesar? 

CiESAR  (backing  away  from  the  crane  as  it  gives  signs  of 
working).     Why  not? 

RuFio.  The  Egyptians  will  let  you  know  why  not  if  they 
have  the  sense  to  make  a  rush  from  the  shore  end  of  the  mole 
before  our  barricade  is  finished.  And  here  we  are  waiting 
like  children  to  see  a  carpet  full  of  pigeons'  e|^. 

The  chain  rattles,  and  is  drawn  up  high  enough  to  dear 


Act  in  Caesar  and  Cleopatra  71 

the  parapet.  It  then  swings  round  ovt  of  sight  behind  the 
lighthouse. 

C^SAR.  Fear  not,  my  son  Rufio.  When  the  first  Egyptian 
takes  his  first  step  along  the  mole,  the  alarm  will  sound;  and 
we  two  will  reach  the  barricade  from  our  end  before  the 
Egyptians  reach  it  from  their  end — we  two,  Rufio:  I,  the  old 
man,  and  you,  his  biggest  boy.  And  the  old  man  will  be  there 
first.     So  peace;  and  give  me  some  more  dates. 

Apollodorus  (from  the  causeway  below).  Soho,  haul 
away.  So-ho-o-o-o !  (The  chain  is  drawn  up  and  comes  round 
again  from  behind  the  lighthouse.  Apollodorus  is  swinging  in 
the  air  with  his  bale  of  carpel  at  the  end  of  it.  He  breaks  into 
song  as  he  soars  above  the  parapet) 

Aloft,  aloft,  behold  the  blue 

That  never  shone  in  woman's  eyes — 

Easy  there:  stop  her.  (He  ceases  to  rise.)  Further  ix)und,' 
(The  chain  comes  forward  above  the  platform.) 

Rufio  (calling  up).  Lower  away  there.  (The  chain  and 
its  load  begin  to  descend.) 

Apollodorus  (calling  up).  Gently — slowly — mind  the  eggs. 

Rufio  (calling  up).     Easy  there — slowly — slowly. 

Apollodorus  and  the  bale  are  deposited  safely  on  the  flags  in 
the  middle  of  the  platform.  Rufio  and  Ccesar  help  Apollodorus 
to  cast  off  the  chain  from  the  bale. 

Rufio.    Haul  up. 

The  chain  rises  clear  of  their  heads  with  a  rattle.  Britannus 
comes  from  the  lighthouse  and  helps  them  to  uncord  the  carpet. 

Apollodorus  (when  the  cords  are  loose).  Stand  off,  my 
friends:  let  Caesar  see.     (He  throws  the  carpet  open.) 

Rufio.  Nothing  but  a  heap  of  shawls.  Where  are  the 
pigeons'  eggs? 

Apollodorus.  Approach,  Caesar;  and  search  for  them 
among  the  shawls. 

Rufio  (drawing  his  sword).  Ha,  treachery!  Keep  back, 
Caisar:  I  saw  the  shawl  move:  there  is  something  aUve  there. 

Britannus  (drawing  his  sword).    It  is  a  serpent. 


72  Caesar  and  Cleopatra  Act  III 

Apollodortjs.  Dares  Caesar  thrust  his  hand  into  the  sack 
where  the  serpent  moves? 

RuFio  {turning  on  him).     Treacherous  dog 

C-fESAB.  Peace.  Put  up  your  swords.  ApoUodorus :  your 
serpent  seems  to  breathe  very  regularly.  (He  thrusts  his 
hand  under  the  shawls  and  draws  out  a  bare  arm.)  This  is  a 
pretty  little  snake. 

RuFio  (drawing  out  the  other  arm).  Let  us  have  the  rest 
of  you. 

They  pidl  Cleopatra  up  by  the  wrists  into  a  sitting  position. 
Britannus,  scandalized,  sheathes  his  sword  with  a  drive  of 
protest. 

Cleopatra  (gasping).  Oh,  I'm  smothered.  Oh,  Caesar; 
a  man  stood  on  me  in  the  boat;  and  a  great  sack  of  something 
fell  upon  me  out  of  the  sky;  and  then  the  boat  sank,  and 
then  I  was  swung  up  into  the  air  and  bumped  down. 

CAESAR  (petting  her  as  she  rises  and  takes  refuge  on  his 
breast).  Well,  never  mind:  here  you  are  safe  and  sound  at 
last. 

RuFio.  Ay;  and  now  that  she  is  here,  what  are  we  to  do 
with  her? 

Britannus.  She  cannot  stay  here,  Caesar,  without  the 
companionship  of  some  matron. 

Cleopatra  (jealously,  to  Coesar,  who  is  obviously  per- 
plexed).    Aren't  you  glad  to  see  me? 

CiESAR.  Yes,  yes;  /  am  very  glad.  But  Rufio  is  very 
angry;  and  Britannus  is  shocked. 

Cleopatra  (contemptuously).  You  can  have  their  heads 
cut  off,  can  you  not  ? 

CiESAR.  They  would  not  be  so  useful  with  their  heads  cut 
off  as  they  are  now,  my  sea  bird. 

Rufio  (to  Cleopatra).  We  shall  have  to  go  away  presently 
and  cut  some  of  your  Egyptians'  heads  off.  How  will  you 
like  being  left  here  with  the  chance  of  being  captured  by  that 
Uttle  brother  of  yours  if  we  are  beaten  ? 

Cleopatra.  But  you  mustn't  leave  me  alone.  Caesar 
you  will  not  leave  me  alone,  will  you  ? 


Act  in  CsBsar  and  Cleopatra  73 

RuFio.  What!  not  when  the  trumpet  sounds  and  all  our 
lives  depend  on  Caesar's  being  at  the  barricade  before  the 
Egyptians  reach  it?    Eh? 

Cleopatra.    Let  them  lose  their  lives :  they  are  only  soldiers. 

Cesar  (gravely).  Cleopatra:  when  that  trumpet  sounds, 
we  must  take  every  man  his  life  in  his  hand,  and  throw  it  in 
the  face  of  Death.  And  of  my  soldiers  who  have  trusted 
me  there  is  not  one  whose  hand  I  shall  not  hold  more  sacred 
than  your  head.  (Cleopatra  is  overwhelmed.  Her  eyes  fill 
with  tears.)  ApoUodonis:  you  must  take  her  back  to  the 
palace. 

Apollodorus.  Am  I  a  dolphin,  Caesar,  to  cross  the  seas 
with  young  ladies  on  my  back?  My  boat  is  sunk:  all  yours 
are  either  at  the  barricade  or  have  returned  to  the  city.  I 
will  hail  one  if  I  can:  that  is  all  I  can  do.  (He  goes  back  to 
the  causeway.) 

Cleopatra  (struggling  with  her  tearst).  It  does  not  mat- 
ter.    I  will  not  go  back.     Nobody  cares  for  me. 

CiESAR.     Cleopatra 

Cleopatra.     You  want  me  to  be  killed. 

CiESAR  (still  more  gravely).  My  poor  child:  your  life 
matters  little  here  to  anyone  but  yourself.  (She  gives  way 
altogether  at  this,  casting  herself  down  on  the  faggots  weeping. 
Suddenly  a  great  tumult  is  heard  in  the  distance,  bucinas  and 
trumpets  sounding  through  a  storm  of  shouting.  Britanntis 
rushes  to  the  parapet  and  looks  along  the  mole.  Caesar  and 
Rufio  turn  to  one  another  vnth  quick  intelligence.) 

C-ESAR.     Come,  Rufio. 

Cleopatra  (scrambling  to  her  knees  and  clinging  to  him). 
No,  no.  Do  not  leave  me,  Caesar.  (He  snatches  his  skirt 
from  her  clutch.)     Oh! 

Brit  ANNUS  (from  the  parapet).  Caesar:  we  are  cut  off. 
The  Egyptians  have  landed  from  the  west  harbor  between 
us  and  the  barricade!!! 

Rufio  (running  to  see).  Curses!  It  is  true.  We  are 
caught  like  rats  in  a  trap. 

CiESAK  (ruthfvlly).    Rufio,  Rufio:  my  men  at  the  barricade 


74  Csesar  and  Cleopatra  Act  HI 

are  between  the  sea  party  and  the  shore  party.  I  have  mur- 
dered them. 

RuFio  {coming  back  from  the  parapd  to  CcBsar's  right 
hand).     Ay:  that  comes  of  fooUng  with  this  girl  here. 

Apollodorus  (coming  up  quickly  from  the  causeway). 
Look  over  the  parapet,  Caesar. 

Cesar.  We  have  looked,  my  friend.  We  must  defend 
ourselves  here. 

Apollodorus.  I  have  thrown  the  ladder  into  the  sea. 
They  cannot  get  in  without  it. 

RuFio.  Ay;  and  we  cannot  get  out.  Have  you  thought 
of  that? 

Apollodorus.  Not  get  out!  Why  not?  You  have  ships 
in  the  east  harbor. 

Britannus  (hopefully,  at  the  parapet).  The  Rhodian  gal- 
leys are  standing  in  towards  us  already.  (Coesar  quickly 
joins  Britannus  at  the  parapet.) 

RuFio  (to  Apollodorus,  impatiently).  And  by  what  road 
are  we  to  walk  to  the  galleys,  pray  ? 

Apollodorus  (with  gay,  defiant  rhetoric).  By  the  road 
that  leads  everywhere — the  diamond  path  of  the  sun  and 
moon.  Have  you  never  seen  the  child's  shadow  play  of  The 
Broken  Bridge?  "Ducks  and  geese  with  ease  get  over" — eh? 
(He  throws  away  his  cloak  and  cap,  and  hinds  his  sword  on 
his  back.) 

RuFio.    What  are  you  talking  about? 

Apollodorus.  I  will  shew  you.  (Calling  to  Britannus) 
How  far  off  is  the  nearest  galley  ? 

Britannus.     Fifty  fathom. 

CiSAR.  No,  no:  they  are  further  off  than  they  seem  in 
this  clear  air  to  your  British  eyes.  Neariy  quarter  of  a  mile, 
Apollodorus. 

Apollodorus,  Good.  Defend  yourselves  here  until  I 
send  you  a  boat  from  that  galley. 

RuFio.     Have  you  wings,  perhaps? 

Apollodorus.     Water  wings,  soldier.     Behold! 

He  runs  up  the  steps  between  Ccesar  and  Britannus  to  the 


Act  in  Csesar  and  Cleopatra  75 

coping  of  the  parapet;  springs  into  the  air;  and  plunges  head 
foremost  into  the  sea. 

C^SAH  (like  a  schoolboy — vnldly  excited).  Bravo,  bravo! 
{Throvnng  off  his  cloak)  By  Jupiter,  I  will  do  that  too. 

RuFio  {seizing  him).     You  are  mad.     You  shall  not. 

C^SAR.     Why  not  ?    Can  I  not  swim  as  well  as  he  ? 

RuFio  (frantic).  Can  an  old  fool  dive  and  swim  like  a 
young  one?    He  is  twenty-five  and  you  are  fifty. 

Cesar  (breaking  loose  from  Rufio).     Old!!! 

Britannus  (shocked).     Rufio:  you  forget  yourself. 

CiESAR.  I  will  race  you  to  the  galley  for  a  week's  pay, 
father  Rufio. 

Cleopatra.    But  me !  me ! !  me ! ! !  what  is  to  become  of  m  e  ? 

C^SAR.  I  will  carry  you  on  my  back  to  the  galley  like  a 
dolphin.  Rufio:  when  you  see  me  rise  to  the  surface,  throw 
her  in:  I  will  answer  for  her.  And  then  in  with  you  after  her, 
both  of  you. 

Cleopatra.     No,  no,  NO.     I  shall  be  drowned. 

Britannus.  Csesar:  I  am  a  man  and  a  Briton,  not  a  fish. 
I  must  have  a  boat.     I  cannot  swim. 

Cleopatra.     Neither  can  I. 

C^SAR  (to  Britannus).  Stay  here,  then,  alone,  until  I 
recapture  the  lighthouse:  I  will  not  forget  you.     Now,  Rufio. 

Rufio.    You  have  made  up  your  mind  to  this  folly? 

CiESAR.  The  Egyptians  have  made  it  up  for  me.  What 
else  is  there  to  do?  And  mind  where  you  jump:  I  do  not 
want  to  get  your  fourteen  stone  in  the  small  of  my  back  as  I 
come  up.     (He  runs  up  the  steps  and  stands  on  the  coping.) 

Britannus  (anxiously).  One  last  word,  Csesar.  Do  not 
let  yourself  be  seen  in  the  fashionable  part  of  Alexandria 
until  you  have  changed  your  clothes. 

Cesar  (calling  over  the  sea).  Ho,  ApoUodorus:  (he  points 
skyward  and  quotes  the  barcarolle) 

The  white  upon  the  blue  above — 

Apollodorus  (swimming  in  the  distance) 

Is  purple  on  the  green  below — 


76  Caesar  and  Cleopatra  Act  III 

CAESAR  (esndtantly).     Aha!     (He  plunges  into  the  sea.) 

Cleopatra  (running  excitedly  to  the  steps).  Oh,  let  mQ 
see.  He  will  be  drowned.  (Rufio  seizes  her.)  Ah — ah—' 
ah — ah!  (He  pitches  her  screaviing  into  the  sea.  Rufio  and 
Britanmis  roar  wiih  laughter.) 

Rufio  (looking  down  after  her).  He  has  got  her.  (To 
Britannu^)  Hold  the  fort,  Briton.  Csesar  will  not  forget 
you.     (He  springs  off.) 

Britannus  (running  to  the  steps  to  watch  them  as  they 
swim).    All  safe,  Rufio? 

Rufio  (swimming).     All  safe. 

C^sAR  (sioimming  further  off).  Take  refuge  up  there  by 
the  beacon;  and  pile  the  fuel  on  the  trap  door,  Britannus. 

Britannus  (calling  in  reply).  I  will  first  do  so,  and  then 
commend  myself  to  my  country's  gods.  (A  sound  of  cheering 
from  the  sea.  Britannus  gives  full  vent  to  his  excitement) 
The  boat  has  reached  him:  Hip,  hip,  hip,  hurrah! 

■ND   OF  ACT  m. 


ACT  IV 

Cleopatra's  sousing  in  the  east  harbor  of  Alexandria  was 
in  October  48  B.  C.  In  March  47  she  is  passing  the  after- 
noon in  her  boudoir  in  the  palace,  among  a  bevy  of  her  ladies, 
listening  to  a  slave  girl  who  is  playing  the  harp  in  the  middle 
of  the  room.  The  harpists  master,  an  old  musician,  with  a 
lined  face,  prominent  brows,  white  beard,  moustache  and  eye- 
brows twisted  and  homed  at  the  ends,  and  a  consciously  keen 
and  pretentious  expression,  is  squatting  on  the  floor  close  to 
her  on  her  right,  watching  her  performance.  Ftatateeta  is  in 
attendance  near  the  door,  in  front  of  a  group  of  female  slaves. 
Except  the  harp  player  all  are  seated:  Cleopatra  in  a  chair 
opposite  the  door  on  the  other  side  of  the  room;  the  rest  on  the 
ground.  Cleopatra's  ladies  are  all  young,  the  most  conspiciums 
being  Charmian  and  Iras,  her  favorites.  Charmian  is  a 
hatchet  faced,  terra  catta  colored  little  goblin,  swift  in  her 
numements,  and  neatly  finished  at  the  hands  and  feet.  Iras 
is  a  plump,  goodnatured  creature,  rather  fatuous,  with  a  pro- 
fusion of  red  hair,  and  a  tendency  to  giggle  on  the  slightest 
provocation. 

Cleopatra.    Can  I 

Ftatateeta  (insolently,  to  the  player).  Peace,  thou!  The 
Queen  speaks.     (The  player  stops.) 

Cleopatra  (to  the  old  musician).  I  want  to  leam  to  play 
the  harp  with  my  own  hands.  Csesar  loves  music.  Can  you 
teach  me? 

Musician.  Assuredly  I  and  no  one  else  can  teach  the 
Queen.  Have  I  not  discovered  the  lost  method  of  the  an- 
cient Egyptians,  who  could  make  a  pyramid  tremble  by 
touching  a  bass  string?  All  the  other  teachers  are  quacks: 
I  have  exposed  them  repeatedly. 


78  Csesar  and  Cleopatra  Act  IV 

Cleopatra.  Good:  you  shall  teach  me.  How  long  will 
it  take  ? 

Musician.  Not  very  long:  only  four  years.  Your  Maj- 
esty must  first  become  proficient  in  the  philosophy  of  Pythag- 
oras. 

Cleopatra.  Has  she  (indicating  the  slave)  become  pro- 
ficient in  the  philosophy  of  Pythagoras? 

Musician.  Oh,  she  is  but  a  slave.  She  learns  as  a  dog 
learns. 

Cleopatra.  Well,  then,  I  will  leam  as  a  dog  learns;  for 
she  plays  better  than  you.  You  shall  give  me  a  lesson  every 
day  for  a  fortnight.  (The  mtisidan  hastily  scrambles  to  his 
feet  and  bows  'profoundly)  After  that,  whenever  I  strike  a 
false  note  you  shall  be  flogged;  and  if  I  strike  so  many  that 
there  is  not  time  to  flog  you,  you  shall  be  thrown  into  the  Nile 
to  feed  the  crocodiles.  Give  the  girl  a  piece  of  gold;  and  send 
them  away. 

Musician  (much  taken  aback).  But  true  art  will  not  be 
thus  forced. 

Ftatateeta  (pushing  him  out).  What  is  this?  Answer- 
ing the  Queen,  forsooth.     Out  with  you. 

He  is  pushed  out  by  Ftatateeta,  the  girl  following  with  her 
harp,  amid  the  laughter  of  the  ladies  and  slaves. 

Cleopatra.  Now,  can  any  of  you  amuse  me?  Have 
you  any  stories  or  any  news? 

Iras.     Ftatateeta 

Cleopatra.  Oh,  Ftatateeta,  Ftatateeta,  always  Ftata- 
teeta.    Some  new  tale  to  set  me  against  her. 

Iras.  No:  this  time  Ftatateeta  has  been  virtuous.  (All 
the  ladies  laugh — not  the  slaves.)  Pothinus  has  been  trying 
to  bribe  her  to  let  him  speak  with  you. 

Cleopatra  (wrathfuUy).  Ha!  you  all  sell  audiences  with 
me,  as  if  I  saw  whom  you  please,  and  not  whom  I  please.  I 
should  like  to  know  how  much  of  her  gold  piece  that  harp 
girl  will  have  to  give  up  before  she  leaves  the  palace. 

Iras.     We  can  easily  find  out  that  for  you. 

The  ladies  laugh. 


Act  IV  Caesar  and  Cleopatra  79 

Cleopatra  (frowning).  You  laugh;  but  take  care,  take 
care.  I  will  find  out  some  day  how  to  make  myself  served 
as  Caesar  is  served. 

Charmian.     Old  hooknose!     (They  laugh  again.) 

Cleopatra  (revolted).  Silence.  Charmian:  do  not  you 
be  a  silly  little  Egyptian  fool.  Do  you  know  why  I  allow 
you  all  to  chatter  impertinently  just  as  you  please,  instead 
of  treating  you  as  Ftatateeta  would  treat  you  if  she  were 
Queen? 

Charmian.  Because  you  try  to  imitate  Caesar  in  every- 
thing; and  he  lets  everybody  say  what  they  please  to  him. 

Cleopatra.  No;  but  because  I  asked  him  one  day  why 
he  did  so;  and  he  said  "Let  your  women  talk;  and  you  will 
leam  something  from  thera."  What  have  I  to  learn  from 
them?  I  said.  "What  they  are,"  said  he;  and  oh!  you 
should  have  seen  his  eye  as  he  said  it.  You  would  have 
curled  up,  you  shallow  things.  (They  laugh.  She  turns 
fiercely  on  Iras)  At  whom  are  you  laughing — at  me  or  at 
Caesar? 

Iras.     At  Caesar. 

Cleopatra.  If  you  were  not  a  fool,  you  would  laugh  at 
me;  and  if  you  were  not  a  coward  you  would  not  be  afraid 
to  tell  me  so.  (Ftatateeta  returns.)  Ftatateeta:  they  tell  me 
that  Pothinus  has  offered  you  a  bribe  to  admit  him  to  my 
presence. 

Ftatateeta  (protesting).     Now  by  my  father's  gods 

Cleopatra  (cutting  her  short  de,spotically).  Have  I  not 
told  you  not  to  deny  things?  You  would  spend  the  day 
calling  your  father's  gods  to  witness  to  your  virtues  if  I  let 
you.  Go  take  the  bribe;  and  bring  in  Pothinus.  (Ftatateeta 
is  about  to  reply.)     Don't  answer  me.     Go. 

Ftatateeta  goes  md;  and  Cleopatra  rises  and  begins  to  prowl 
to  and  fro  between  her  chair  and  the  door,  meditating.  All 
rise  and  stand. 

Iras  (as  she  relu^antly  rises).  Heigho!  I  wish  Caesar 
were  back  in  Rome. 

Cleopatra  (threateningly).     It  will  be  a  bad  day  for  you 


80  Csesar  and  Cleopatra  Act  IV 

all  when  he  goes.  Oh,  if  I  were  not  ashamed  to  let  him  see 
that  I  am  as  cruel  at  heart  as  my  father,  I  would  make  you 
repent  that  speech!    Why  do  you  wish  him  away? 

Charmian.  He  makes  you  so  terribly  prosy  and  serious 
and  learned  and  philosophical.  It  is  worse  than  being  re- 
ligious, at  o  u  r  ages.     {The  ladies  laugh.) 

Cleopatra.  Cease  that  endless  cackling,  will  you.  Hold 
your  tongues. 

Charmian  (with  mock  resignation).  Well,  well:  we  must 
try  to  live  up  to  Caesar. 

They  laugh  again.  Cleopatra  rages  silently  as  she  continues 
to  prowl  to  and  fro.  Ftatateeta  comes  back  vnth  Pothinus, 
who  halts  on  the  threshold. 

Ftatateeta  (at  the  door) .  Pothinus  craves  the  ear  of  the 

Cleopatra.  There,  there:  that  will  do:  let  him  come  in. 
(She  resumes  her  seat.  All  sit  down  except  Pothinus,  who 
advances  to  the  middle  of  the  room.  Ftatateeta  takes  her  for- 
mer place.)  Well,  Pothinus:  what  is  the  latest  news  from 
your  rebel  friends? 

Pothinus  (haughtily).  I  am  no  friend  of  rebellion.  And 
a  prisoner  does  not  receive  news. 

Cleopatra.  You  are  no  more  a  prisoner  than  I  am — 
than  Caesar  is.  These  six  months  we  have  been  besieged  in 
this  palace  by  my  subjects.  You  are  allowed  to  walk  on  the 
beach  among  the  soldiers.  Can  I  go  further  myself,  or  can 
Caesar? 

Pothinus.  You  are  but  a  child,  Cleopatra,  and  do  not 
understand  these  matters. 

The  ladies  laugh.     Cleopatra  looks  inscrutably  at  him. 

Charmian.  I  see  you  do  not  know  the  latest  news,  Pothinus. 

Pothinus.     What  is  that? 

Charmian.  That  Cleopatra  is  no  longer  a  child.  Shall 
I  tell  you  how  to  grow  much  older,  and  much,  much  wiser 
in  one  day? 

Pothinus.  I  should  prefer  to  grow  wiser  without  growing 
older. 

Charmian.     Well,  go  up  to  the  topof  the  lighthouse;  and 


Act  IV  Csesar  and  Cleopatra  81 

get  somebody  to  take  you  by  the  hair  and  throw  you  into  the 
sea.     {The  ladies  laugh.) 

Cleopatra.  She  is  right,  Pothinus:  you  will  come  to  the 
shore  with  much  conceit  washed  out  of  you.  {The  ladies 
laugh.  Cleopatra  rises  impatiently.)  Begone,  all  of  you.  I 
will  speak  with  Pothinus  alone.  Drive  them  out,  Ftatateeta. 
{They  run  out  laughing.  Ftatateeta  shuts  the  door  on  them.) 
What  are  you  waiting  for? 

Ftatateeta.  It  is  not  meet  that  the  Queen  remain  alone 
with 

Cleopatra  {interrupting  her).  Ftatateeta:  must  I  sacri- 
fice you  to  your  father's  gods  to  teach  you  that  /  am  Queen  of 
Egypt,  and  not  you .'' 

Ftatateeta  (indignantly).  You  are  like  the  rest  of  them. 
You  want  to  be  what  these  Romans  call  a  New  Woman. 
{She  goes  out,  banging  the  door.) 

Cleopatra  {sitting  doum  again).  Now,  Pothinus:  why 
did  you  bribe  Ftatateeta  to  bring  you  hither? 

PoTHiisrus  {studying  her  gravely).  Cleopatra:  what  they 
tell  me  is  true.     You  are  changed. 

Cleopatra.  Do  you  speak  with  Csesar  every  day  for  six 
months:  and  you  will  be  changed. 

Pothinus.  It  is  the  common  talk  that  you  are  infatuated 
with  this  old  man. 

Cleopatra.  Infatuated?  What  does  that  mean?  Made 
foolish,  is  it  not?     Oh  no:  I  wish  I  were. 

Pothinus.     You  wish  you  were  made  foolish!    How  so? 

Cleopatra.  When  I  was  foolish,  I  did  what  I  liked, 
except  when  Ftatateeta  beat  me;  and  even  then  I  cheated 
her  and  did  it  by  stealth.  Now  that  Caesar  has  made  me 
wise,  it  is  no  use  my  liking  or  disliking;  I  do  what  must  be 
done,  and  have  no  time  to  attend  to  myself.  That  is  not 
happiness;  but  it  is  greatness.  If  Caesar  were  gone,  I  think 
I  could  govern  the  Egyptians;  for  what  Caesar  is  to  me,  I  am 
to  the  fools  around  me. 

Pothinus  {looking  hard  at  her).  Cleopatra:  this  may  be 
the  vanity  of  youth. 


82  Cagsar  and  Cleopatra  Act  IV 

Cleopatra.  No,  no:  it  is  not  that  I  am  so  clever,  but 
that  the  others  are  so  stupid. 

PoTHiNUS  (musingly).     Truly,  that  is  the  great  secret. 

Cleopatr.1.     Well,  now  tell  me  what  you  came  to  say? 

PoTHiNUS  (embarrassed).     I!     Nothing. 

Cleopatra.     Nothing! 

PoTHiNiTS.     At  least — to  beg  for  my  liberty:  that  is  all. 

Cleopatra.  For  that  you  would  have  knelt  to  Caesar. 
No,  Pothinus:  you  came  with  some  plan  that  depended  on 
Cleopatra  being  a  Httle  nursery  kitten.  Now  that  Cleopatra 
is  a  Queen,  the  plan  is  upset. 

Pothinus  (bcnoing  his  head  submissively).     It  is  so. 

Cleopatra  (exultant).     Aha! 

Pothinus  (raising  his  eyes  keenly  to  hers).  Is  Cleopatra 
then  indeed  a  Queen,  and  no  longer  Caesar's  prisoner  and  slave  ? 

Clec?patra.  Pothinus:  we  are  all  Caesar's  slaves — all  we 
in  this  land  of  Egypt — whether  we  will  or  no.  And  she  who 
is  wise  enough  to  know  this  will  reign  when  Caesar  departs. 

Pothinus.    you  harp  on  Caesar's  departure. 

Cleopatra.    What  if  I  do? 

Pothinus.     Does  he  not  love  you? 

Cleopatra.  Love  me!  Pothinus:  Caesar  loves  no  one. 
Who  are  those  we  love?  Only  those  whom  we  do  not  hate: 
all  people  are  strangers  and  enemies  to  us  except  those  we 
love.  But  it  is  not  so  with  Caesar.  He  has  no  hatred  in 
him:  he  makes  friends  with  everyone  as  he  does  with  dogs 
and  children.  His  kindness  to  me  is  a  wonder:  neither 
mother,  father,  nor  nurse  have  ever  taken  so  much  care  for 
me,  or  thrown  open  their  thoughts  to  me  so  freely. 

Pothinus.     Well:  is  not  this  love? 

Cleopatra.  WTiat!  When  he  will  do  as  much  for  the 
first  girl  he  meets  on  his  way  back  to  Rome  ?  Ask  his  slave, 
Britannus:  he  has  been  just  as  good  to  him.  Nay,  ask  his 
very  horse!  His  kindness  is  not  for  anything  in  m  e :  it  is  in 
his  own  nature. 

Pothinus.  But  how  can  you  be  sure  that  he  does  not  love 
you  as  men  love  women? 


Act  IV  Cffisar  and  Cleopatra  83 

Cleopatra.  Because  I  cannot  make  him  jealous.  I  have 
tried. 

PoTHiNUS.  Hm!  Perhaps  I  should  have  asked,  then,  do 
you   love  him? 

Cleopatra.  Can  one  love  a  god  ?  Besides,  I  love  another 
Roman:  one  whom  I  saw  long  before  Caesar — no  god,  but  a 
man — one  who  can  love  and  hate — one  whom  I  can  hurt  and 
who  would  hurt  me. 

PoTHiNUS.     Does  Csesar  know  this? 

Cleopatra.    Yes. 

PoTHiNUS.    And  he  is  not  angry. 

Cleopatra.  He  promises  to  send  him  to  Egypt  to  please 
me! 

PoTHiNUS.     I  do  not  understand  this  man? 

Cleopatra  (with  superb  contempt).  You  understand 
Caesar!    How  could  you?     {Proudly)  I  do — by  instinct. 

PoTHiNUS  (deferentially,  after  a  moment's  thought).  Your 
Majesty  caused  me  to  be  admitted  to-day.  What  message 
has  the  Queen  for  me? 

Cleopatra.  This.  You  think  that  by  making  my  brother 
king,  you  will  rule  in  Egypt,  because  you  are  his  guardian 
and  he  is  a  little  silly. 

PoTHiNus.     The  Queen  is  pleased  to  say  so. 

Cleopatra.  The  Queen  is  pleased  to  say  this  also.  That 
Caesar  will  eat  up  you,  and  Achillas,  and  my  brother,  as  a 
cat  eats  up  mice;  and  that  he  will  put  on  this  land  of  Egypt 
as  a  shepherd  puts  on  his  garment.  And  when  he  has  done 
that,  he  will  return  to  Rome,  and  leave  Cleopatra  here  as  his 
viceroy. 

PoTHiNUS  (breaking  out  wraihfuUy).  That  he  will  never 
do.  We  have  a  thousand  men  to  his  ten;  and  we  will  drive 
him  and  his  beggarly  legions  into  the  sea. 

Cleopatra  (with  scorn,  getting  up  to  go).  You  rant  like 
any  common  fellow.  Go,  then,  and  marshal  your  thousands; 
and  make  haste;  for  Mithridates  of  Pergamos  is  at  hand  with 
reinforcements  for  Caesar.  Caesar  has  held  you  at  bay  with 
two  legions:  we  shall  see  what  he  will  do  with  twenty. 


84  Cagsar  and  Cleopatra  Act  IV 

PoTHiNTTS.     Cleopatra- 


Cleopatra.  Enough,  enough:  Csesar  has  spoiled  me  for 
talking  to  weak  things  like  you.  (She  goes  out.  Pothinus, 
loith  a  gesture  of  rage,  is  folloiving,  when  Ftatateeta  enters  and 
stops  him.) 

Pothinus.     Let  me  go  forth  from  this  hateful  place. 

Ftatateeta.     What  angers  you  ? 

Pothinus.  The  curse  of  all  the  gods  of  Egypt  be  upon 
her!  She  has  sold  her  country  to  the  Roman,  that  she  may 
buy  it  back  from  him  with  her  kisses. 

Ftatateeta.  Fool:  did  she  not  tell  you  that  she  would 
have  Csesar  gone? 

Pothinus.     You  listened? 

Ftatateeta.  I  took  care  that  some  honest  woman  should 
be  at  hand  whilst  you  were  with  her. 

Pothinus.     Now  by  the  gods 

Ftatateeta.  Enough  of  your  gods!  Caesar's  gods  are  all 
powerful  here.  It  is  no  use  you  coming  to  Cleopatra:  you 
are  only  an  Egyptian.  She  will  not  listen  to  any  of  her  own 
race:  she  treats  us  all  as  children. 

Pothinus.     May  she  perish  for  it! 

Ftatateeta  (balefully).  May  your  tongue  wither  for  that 
wish!  Go!  send  for  Lucius  Septimius,  the  slayer  of  Pompey. 
He  is  a  Roman:  may  be  she  will  listen  to  him.     Begone! 

Pothinus  (darkly).     I  know  to  whom  I  must  go  now. 

Ftatateeta  (suspiciously).     To  whom,  then? 

Pothinus.  To  a  greater  Roman  than  Lucius.  And  mark 
this,  mistress.  You  thought,  before  Caesar  came,  that  Egypt 
should  presently  be  ruled  by  you  and  your  crew  in  the  name 
of  Cleopatra.     I  set  myself  against  it 

Ftatateeta  (interrupting  him — wrangling).  Ay;  that  it 
might  be  ruled  by  you  and  your  crew  in  the  name  of  Ptol- 
emy. 

Pothinus.  Better  me,  or  even  you,  than  a  woman  with 
'a  Roman  heart;  and  that  is  what  Cleopatra  is  now  become. 
Whilst  I  Uve,  she  shall  never  rule.  So  guide  yourself  ac- 
cordingly.    (He  goes  out.) 


Act  rv  Caesar  and  Cleopatra  85 

It  is  by  this  time  drawing  on  to  dinner  time.  The  table  is 
laid  on  the  roof  of  the  palace;  and  thither  Rufio  is  now  climb- 
ing, ushered  by  a  mnjestic  palace  official,  wand  of  office  in 
hand,  and  followed  by  a  slave  carrying  an  inlaid  stool.  After 
many  stairs  they  emerge  at  last  into  a  massive  colonnade  on 
the  roof.  Light  curtains  are  drawn  between  the  columns  on 
the  north  and  east  to  sopen  the  westering  sun.  The  official 
leads  Rufio  to  one  of  these  shaded  sections.  A  cord  for  pulling 
the  curtains  apart  hangs  doom  between  the  pillars. 

The  Official  (bowing).  The  Roman  commander  will 
await  Caesar  here. 

The  slave  sets  down  the  stool  near  the  sofuthemmost  column, 
and  slips  out  through  the  curtains. 

Rufio  {sitting  down,  a  little  blown).  Pouf!  That  was  a 
climb.     How  high  have  we  come? 

The  Official.  We  are  on  the  palace  roof,  O  Beloved  of 
Victory ! 

Rufio.  Good!  the  Beloved  of  Victory  has  no  more  stairs 
to  get  up. 

A  second  official  enters  from  the  opposite  end,  walking 
backwards. 

The  Second  Official.     Caesar  approaches. 

Caesar,  fresh  from  the  bath,  clad  in  a  new  tunic  of  purple 
silk,  comes  in,  beaming  and  festive,  followed  by  two  slaves 
carrying  a  light  couch,  which  is  hardly  more  than  an  elabo- 
rately designed  bench.  They  place  it  near  the  northmost  of  the 
two  curtained  columns.  When  this  is  done  they  slip  out 
through  the  curtains;  and  the  two  officials,  formally  bowing, 
follow  them.     Rufio  rises  to  receive  C(Esar. 

C^sar  {coming  over  to  him).  Why,  Rufio!  {Surveying  his 
dress  with  an  air  of  admiring  astonishment)  A  new  baldrick! 
A  new  golden  pommel  to  your  sword!  And  you  have  had 
your  hair  cut!  But  not  your  beard — ?  impossible!  {He 
sniffs  at  Rufio' s  beard.)     Yes,  perfumed,  by  Jupiter  Olympus! 

Rufio  {growling).     Well:  is  it  to  please  myself? 

Cesar  {affectionately) .  No,  my  son  Rufio,  but  to  please 
me — to  celebrate  my  birthday. 


86  Caesar  and  Cleopatra  Act  IV 

RlTFio  (contemptuoiisly) .  Your  birthday!  You  always 
have  a  birthday  when  there  is  a  pretty  girl  to  be  flattered  or  an 
ambassador  to  be  conciliated.  We  had  seven  of  them  in  ten 
months  last  year. 

C^SAR  {contritely).  It  is  true,  Rufio!  I  shall  never  break 
myself  of  these  petty  deceits. 

RuFio.     Who  is  to  dine  w^ith  us — besides  Cleopatra? 

Cjesab.    ApoUodorus  the  Sicilian. 

Rufio.    That  popinjay! 

C^SAR.  Come!  the  popinjay  is  an  amusing  dog — tells  a 
story;  sings  a  song;  and  saves  us  the  trouble  of  flattering  the 
Queen.  What  does  she  care  for  old  politicians  and  camp- 
fed  bears  like  us?  No:  ApoUodorus  is  good  company,  Rufio, 
good  company. 

Rufio.  Well,  he  can  swim  a  bit  and  fence  a  bit:  he  might 
be  worse,  if  he  only  knew  how  to  hold  his  tongue. 

C^SAR.  The  gods  forbid  he  should  ever  learn!  Oh,  this 
military  life!  this  tedious,  brutal  life  of  action!  That  is  the 
worst  of  us  Romans:  we  are  mere  doers  and  drudgers:  a 
swarm  of  bees  turned  into  men.  Give  me  a  good  talker — 
one  with  wit  and  imagination  enough  to  live  without  con- 
tinually doing  something! 

Rufio.  Ay!  a  nice  time  he  would  have  of  it  with  you 
when  dinner  was  over!  Have  you  noticed  that  I  am  before 
my  time? 

CiESAB.  Aha!  I  thought  that  meant  something.  What 
is  it? 

Rufio.     Can  we  be  overheard  here? 

C^SAR.  Our  privacy  invites  eavesdropping.  I  can  rem- 
edy that.  {He  claps  his  hands  twice.  The  curtains  are 
drawn,  revealing  the  roof  garden  with  a  hanqueiing  table  set 
across  in  the  middle  for  four  persons,  one  at  each  end,  and  two 
side  by  side.  The  side  next  Ccesar  and  Rufio  is  blocked  vnth 
golden  wine  vessels  and  basins.  A  gorgeous  major-domo  is 
superintending  the  laying  of  the  table  by  a  staff  of  slaves.  The 
colonnade  goes  round  the  garden  at  both  sides  to  the  further 
end,  where  a  gap  in  it,  like  a  great  gateway,  leaves  the  view 


Act  IV  Caesar  and  Cleopatra  87 

open  to  the  sky  beyond  the  western  edge  of  the  roof,  except  in 
the  middle,  where  a  life  size  image  of  Ra,  seated  on  a  huge 
plinth,  towers  up,  with  hawk  head  and  crown  of  asp  and  disk. 
His  altar,  which  stands  at  his  feet,  is  a  single  white  stone.) 
Now  everybody  can  see  us,  nobody  will  think  of  listening  to 
us.     (He  sits  down  on  the  bench  left  by  the  two  slaves.) 

RuFio  (sitting  down  on  his  stool).  Pothinus  wants  to  speak 
to  you.  I  advise  you  to  see  him:  there  is  some  plotting  going 
on  here  among  the  women. 

C^SAB.    Who  is  Pothinus? 

RuFio.  The  fellow  with  hair  like  squirrel's  fur — the  little 
King's  bear  leader,  whom  you  kept  prisoner. 

C^SAR  (annoyed).     And  has  he  not  escaped? 

Rurio.    No. 

C^SAR  (rising  imperiously).  Why  not?  You  have  been 
guarding  this  man  instead  of  Watching  the  enemy.  Have  I 
not  told  you  always  to  let  prisoners  escape  unless  there  are 
special  orders  to  the  contrary  ?  Are  there  not  enough  mouths 
to  be  fed  without  him? 

RuFio.  Yes;  and  if  you  would  have  a  little  sense  and  let 
me  cut  his  throat,  you  would  save  his  rations.  Anyhow,  he 
won't  escape.  Three  sentries  have  told  him  they  would 
put  a  pilum  through  him  if  they  saw  him  again.  What 
more  can  they  do  ?  He  prefers  to  stay  and  spy  on  us.  So 
would  I  if  I  had  to  do  with  generals  subject  to  fits  of 
clemency. 

Cesar  (resuming  his  seat,  argued  down).  Hm!  And  so 
he  wants  to  see  me. 

RuFio.  Ay.  I  have  brought  him  with  me.  He  is  waiting 
there  (jerking  his  thumb  over  his  shoulder)  under  guard. 

CAESAR.     And  you  want  me  to  see  him  ? 

RuFio  (obstinately).  I  don't  want  anything.  I  daresay 
you  will  do  what  you  like.     Don't  put  it  on  to  me. 

C^SAR  (with  an  air  of  doing  it  expressly  to  indulge  Rufio). 
Well,  well:  let  us  have  him. 

Rufio  (coZZingf).  Ho  there,  guard !  Release  your  man  and 
send  him  up.     (Beckoning)  Come  along! 


88  Cffisar  and  Cleopatra  Act  IV 

Pothinus  enters  and  stops  mistrustfully  between  the  two, 
looking  from  one  to  the  other. 

C^SAR  (graciously).  Ah,  Pothinus!  You  are  welcome. 
And  what  is  the  news  this  afternoon? 

Pothinus.  Caesar:  I  come  to  warn  you  of  a  danger,  and 
to  make  you  an  offer. 

CiESAB.     Never  mind  the  danger.     Make  the  offer. 

K.UFIO.    Never  mind  the  offer.     What's  the  danger? 

Pothinus.  Caesar:  you  think  that  Cleopatra  is  devoted 
to  you. 

CiESAR  (gravely).  My  friend:  I  already  know  what  I  think. 
Come  to  your  offer. 

Pothinus.  I  will  deal  plainly.  I  know  not  by  what 
strange  gods  you  have  been  enabled  to  defend  a  palace  and 
a  few  yards  of  beach  against  a  city  and  an  army.  Since  we 
cut  you  off  from  Lake  Mareotis,  and  you  dug  wells  in  the 
salt  sea  sand  and  brought  up  buckets  of  fresh  water  from 
them,  we  have  known  that  your  gods  are  irresistible,  and  that 
you  are  a  worker  of  miracles.     I  no  longer  threaten  you 

RuFio  (sarcastically).     Very  handsome  of  you,  indeed. 

Pothinus.  So  be  it:  you  are  the  master.  Our  gods  sent 
the  north  west  winds  to  keep  you  in  our  hands;  but  you  have 
been  too  strong  for  them. 

CAESAR  (gently  urging  him  to  come  to  the  point).  Yes,  yes, 
my  friend.     But  what  then? 

RuFio.     Spit  it  out,  man.     What  have  you  to  say? 

Pothinus.  I  have  to  say  that  you  have  a  traitress  in  your 
camp.     Cleopatra 

The  Major-Domo  (at  the  table,  announcing).  The  Queen! 
(CcBsar  and  Rufio  rise.) 

RuFio  (aside  to  Pothinus).  You  should  have  spat  it  out 
sooner,  you  fool.    Now  it  is  too  late. 

Cleopatra,  in  gorgeous  raiment,  enters  in  state  through  the 
gap  in  the  colonnade,  and  comes  down  past  the  image  of  Ra 
and  past  the  table  to  Caesar.  Her  retinue,  headed  by  Ftata- 
teeta,  joins  the  staff  at  the  table.  Caesar  gives  Cleopatra  his 
seat,  which  she  takes. 


Act  rv  Cffisar  and  Cleopatra  89 

Cleopatra  {quickly,  seeing  Pothimis).  What  is  h  e  doing 
here? 

CiESAR  (seating  himself  beside  her,  in  the  most  amiable  of 
tempers).  Just  going  to  tell  me  something  about  you.  You 
shall  hear  it.     Proceed,  Pothinus. 

PoTHiNUS  (disconcerted).     Caesar —    (He  stammers.) 

C^SAR.    Well,  out  with  it. 

Pothinus.  What  I  have  to  say  is  for  your  ear,  not  for 
the  Queen's. 

Cleopatra  (with  subdued  ferocity).  There  are  means  of 
making  you  speak.     Take  care. 

Pothinus  (defiantly).    Caesar  does  not  employ  those  means. 

C^SAR.  My  friend:  when  a  man  has  anything  to  tell  in 
this  world,  the  difficulty  is  not  to  make  him  tell  it,  but  to 
prevent  him  from  telling  it  too  often.  Let  me  celebrate  my 
birthday  by  setting  you  free.  Farewell:  we  shall  not  meet 
again. 

Cleopatra  (angrily).     Caesar:  this  mercy  is  foolish. 

Pothinus  (to  Caesar).  Will  you  not  give  me  a  private 
audience?    Your  life  may  depend  on  it.     (Coesar  rises  loftily.) 

^VFio  (aside  to  Pothinus).  Ass!  Now  we  shall  have  some 
heroics. 

CiESAR  (oratorically).    Pothinus 

RuFio  (interrupting  him).  Caesar:  the  dinner  will  spoil  if 
you  begin  preaching  your  favourite  sermon  about  Ufe  and 
death. 

Cleopatra  (priggishly).  Peace,  Rufio.  I  desire  to  hear 
Caesar. 

RuFio  (bluntly).  Your  Majesty  has  heard  it  before.  You 
repeated  it  to  Apollodorus  last  week;  and  he  thought  it  was 
all  your  own.  (Caesar's  dignity  collapses.  Mu^h  tickled,  he 
sits  down  again  and  looks  roguishly  at  Cleopatra,  who  is 
furious.  Rufio  calls  as  before)  Ho  there,  guard!  Pass  the 
prisoner  out.  He  is  released.  (To  Pothinus)  Now  off  with 
you.     You  have  lost  your  chance. 

Pothinus  (his  temper  overcoming  his  prudence).  I  w  i  1 1 
speak. 


90  Cassar  and  Cleopatra  Act  rv 

Cjesar  (to  Cleopatra).  You  see.  Torture  would  not  have 
wrung  a  word  from  him. 

PoTHiNUS.  Caesar:  you  have  taught  Cleopatra  the  arts  by 
which  the  Romans  govern  the  world. 

C.«»AR.  Alas!  they  cannot  even  govern  themselves.  What 
then? 

PoTHiNus.  "What  then?  Are  you  so  besotted  with  her 
beauty  that  you  do  not  see  that  she  is  impatient  to  reign  in 
Egypt  alone,  and  that  her  heart  is  set  on  your  departure  ? 

Cleopatra  (rising).    Liar! 

C.£SAR   (shocked).    What!   Protestations!   Contradictions! 

CiEOPATRA  (ashamed,  but  trembling  with  suppressed  rage). 
No.  I  do  not  deign  to  contradict.  Let  him  talk.  (She  sits 
down  again.) 

PoTHiNUS.  From  her  own  lips  I  have  heard  it.  You  are 
to  be  her  catspaw:  you  are  to  tear  the  crown  from  her  broth- 
er's head  and  set  it  on  her  own,  deUvering  us  all  into  her 
hand — delivering  yourself  also.  And  then  Caesar  can  return 
to  Rome,  or  depart  through  the  gate  of  death,  which  is  nearer 
and  surer. 

CiESAR  (calmly).  Well,  my  friend;  and  is  not  this  very 
natural  ? 

PoTHiNUS  (astonished).  Natural !  Then  you  do  not  resent 
treachery  ? 

Cesar.  Resent!  O  thou  foolish  Egyptian,  what  have  I 
to  do  with  resentment?  Do  I  resent  the  wind  when  it  chills 
me,  or  the  night  when  it  makes  me  stumble  in  the  darkness? 
Shall  I  resent  youth  when  it  turns  from  age,  and  ambition 
when  it  turns  from  servitude?  To  tell  me  such  a  story  as 
this  is  but  to  tell  me  that  the  sun  will  rise  to-morrow. 

Cleopatra  (unable  to  contain  herself).  But  it  is  false — 
false.    I  swear  it. 

CAESAR.  It  is  true,  though  you  swore  it  a  thousand  times, 
and  believed  all  you  swore.  (She  is  convidsed  with  miotion. 
To  screen  her,  he  rises  and  takes  Pothinu^  to  Rufio,  saying) 
Come,  Rufio:  let  us  see  Pothinus  past  the  guard.  I  have  t, 
word  to  say  to  him.     (Aside  to  them)  We    must   give   the 


Act  IV  Csesar  and  Cleopatra  91 

Queen  a  moment  to  recover  herself.  {Alotid)  Come.  {He 
takes  Pothinus  and  Rufio  ovi  with  him,  conversing  toith  them 
meanwhile.)  Tell  your  friends,  Pothinus,  that  they  must 
not  think  I  am  opposed  to  a  reasonable  settlement  of  the 
country's  aflFairs —    (They  pass  out  of  hearing.) 

Cleopatra  (in  a  stifled  whisper).     Ftatateeta,  Ftatateeta. 

Ptatateeta  (hurrying  to  her  from  the  table  and  petting 
her).    Peace,  child:  be  comforted 

Cleopatra  (interrupting  her).     Can  they  hear  us? 

Ftatateeta.    No,  dear  heart,  no. 

Cleopatra.  Listen  to  me.  If  he  leaves  the  Palace  alive, 
never  see  my  face  again. 

Ftatateeta.    He  ?    Poth 

Cleopatra  (striking  her  on  the  rtuyutK).  Strike  his  hfe  out 
as  I  strike  his  name  from  your  lips.  Dash  him  down  from 
the  wall.     Break  him  on  the  stones.     Kill,  kill,  kill  him. 

Ftatateeta  (shewing  all  her  teeth).    The  dog  shall  perish. 

Cleopatra.  Fail  in  this,  and  you  go  out  from  before  me 
for  ever. 

Ftatateeta  (resolutely).  So  be  it.  You  shall  not  see  my 
face  until  his  eyes  are  darkened. 

CoBsar  com£S  back,  with  Apollodorus,  exquisitely  dressed, 
and  Rufio. 

CjjEopa.tka.  (to  Ftatateeta).  Come  soon — soon.  (Ftatateeta 
turns  her  meaning  eyes  for  a  moment  on  her  mistress;  then 
goes  grimly  away  past  Ra  and  out.  Cleopatra  runs  like  a 
gazelle  to  Caesar)  So  you  have  come  back  to  me,  Caesar. 
(Caressingly)  I  thought  you  were  angry.  Welcome,  Apollo- 
dorus. (She  gives  him  her  hand  to  kiss,  with  her  other  arm 
about  CcBsar.) 

Apollodorus.  Cleopatra  grows  more  womanly  beautiful 
from  week  to  week. 

Cleopatra.    Truth,  Apollodorus? 

Apollodorus.  Far,  far  short  of  the  truth!  Friend  Rufio 
threw  a  pearl  into  the  sea:  Caesar  fished  up  a  diamond. 

C^SAR.  Caesar  fished  up  a  touch  of  rheumatism,  my  friend. 
Come:  to  dinner!  to  dinner!     (They  move  towards  the  table.) 


92  Caesar  and  Cleopatra  Act  IV 

Cleopatra  (skipping  like  a  young  fawn).  Yes,  to  dinner. 
I  have  ordered  s  u  c  h  a  dinner  for  you,  Caesar! 

Cesar.     Ay?    What  are  we  to  have? 

Cleopatra.    Peacocks'  brains. 

CiESAR  (as  if  his  mouth  watered).  Peacocks'  brains, 
Ap>ollodorus! 

Apollodorus.  Not  for  me.  I  prefer  nightingales'  tongues. 
{He  goes  to  one  of  the  two  covers  set  side  by  side.) 

Cleopatra.     Roast  boar,  Rufio! 

RuFio  (gluttonously).  Good!  (He  goes  to  the  seat  next 
Apollodorus,  on  his  left.) 

Cesar  (looking  at  his  seat,  which  is  at  the  end  of  the  table, 
to  Ra's  left  hand).     What  has  become  of  my  leathern  cushion? 

Cleopatra  (at  the  opposite  end).  I  have  got  new  ones  for 
you. 

The  Major-Domo.  These  cushions,  Csesar,  are  of  Maltese 
gauze,  stuffed  with  rose  leaves. 

C^SAR.  Rose  leaves!  Am  I  a  caterpillar?  (He  throws 
the  cushions  away  and  seats  himself  on  the  leather  mattress 
underneath.) 

Cleopatra.     What  a  shame!    My  new  cushions! 

The  Major-Domo  (at  Caesar's  elbow).  What  shall  we 
serve  to  whet  Caesar's  appetite? 

C-ESAR.     What  have  you  got? 

The  Major-Domo.  Sea  hedgehogs,  black  and  white  sea 
acorns,  sea  nettles,  beccaficoes,  purple  sheUfish 

C^SAR.     Any  oysters? 

The  Major-Domo.    Assuredly. 

CiESAR.     British  oysters  ? 

The  Major-Domo  (assenting).     British  oysters,  Csesar. 

CiESAR.  Oysters,  then.  (The  Major-Domo  signs  to  a 
slave  at  each  order;  and  the  slave  goes  out  to  execute  it.)  I 
have  been  in  Britain — that  western  land  of  romance — the 
last  piece  of  earth  on  the  edge  of  the  ocean  that  surrounds 
the  world.  I  went  there  in  search  of  its  famous  pearls.  The 
British  pearl  was  a  fable;  but  in  searching  for  it  I  found  the 
British  oyster. 


Act  IV  Caesar  and  Cleopatra  93 

Apollodortts.  All  posterity  will  bless  you  for  it.  (To  the 
Major-Domo)  Sea  hedgehogs  for  me. 

Rurio.     Is  there  nothing  solid  to  begin  with? 

The  Major-Domo.     Fieldfares  with  asparagus 

Cleopatra  (interrupting).  Fattened  fowls!  have  some 
fattened  fowls,  Rufio. 

RuFio.     Ay,  that  will  do. 

Cleopatra  (greedily).     Fieldfares  for  me. 

The  Major-Domo.  Caesar  will  deign  to  choose  his  wine  ? 
Sicilian,  Lesbian,  Chian 

Rufio  (contempttwusly).    All  Greek. 

Apollodorus.  Who  would  drink  Roman  wine  when  he 
could  get  Greek?     Try  the  Lesbian,  Caesar. 

CiESAR.     Bring  me  my  barley  water. 

Rufio  (with  intense  disgust).  Ugh!  Bring  me  my  Fal- 
ernian.     (The  Falemian  is  presently  brought  to  him.) 

Cleopatra  (pouting).  It  is  waste  of  time  giving  you 
dinners,  Caesar.  My  scullions  would  not  condescend  to  your 
diet. 

CssAR  (relenting).  Well,  well:  let  us  try  the  Lesbian. 
(The  Major-Domo  fills  Ccesar^s  goblet;  then  Cleopatra's  and 
Apollodorus* s.)  But  when  I  return  to  Rome,  I  will  make 
laws  against  these  extravagances.  I  will  even  get  the  laws 
carried  out. 

Cleopatra  (coaxingly).  Never  mind.  To-day  you  are 
to  be  like  other  people:  idle,  luxurious,  and  kind.  (She 
stretches  her  hand  to  him  along  the  table.) 

C^SAR.  Well,  for  once  I  will  sacrifice  my  comfort — 
(kissing  her  hand)  there!  (He  takes  a  dratight  of  vrine.) 
Now  are  you  satisfied? 

Cleopatra.  And  you  no  longer  believe  that  I  long  for 
your  departure  for  Rome? 

CiESAR.  I  no  longer  believe  anything.  My  brains  are 
asleep.     Besides,  who  knows  whether  I  shall  return  to  Rome? 

Rufio  (alarmed).    How?    Eh?    What? 

C^SAR.  What  has  Rome  to  shew  me  that  I  have  not 
seen  already?    One  year  of  Rome  is  like  another,  except 


94  Caesar  and  Cleopatra  Act  IV 

that  I  grow  older,  whilst  the  crowd  in  the  Appian  Way  is 
always  the  same  age. 

Apoliodorus.  It  is  no  better  here  in  Egypt.  The  old 
men,  when  they  are  tired  of  life,  say  "We  have  seen  every- 
thing except  the  source  of  the  Nile." 

C.«SAR  (his  imagination  catching  fire).  And  why  not  see 
that?  Cleopatra:  will  you  come  with  me  and  track  the  flood 
to  its  cradle  in  the  heart  of  the  regions  of  mystery?  Shall 
we  leave  Rome  behind  us — Rome,  that  has  achieved  great- 
ness only  to  learn  how  greatness  destroys  nations  of  men  who 
are  not  great!  Shall  I  make  you  a  new  kingdom,  and  build 
you  a  holy  city  there  in  the  great  unknown? 

Cleopatra  (rapturously).     Yes,  yes.    You  shall. 

RuFio.  Ay:  now  he  will  conquer  Africa  with  two  legions 
before  we  come  to  the  roast  boar. 

Apollodorus.  Come:  no  scoflSng.  This  is  a  noble 
scheme:  in  it  Csesar  is  no  longer  merely  the  conquering  sol- 
dier, but  the  creative  poet-artist.  Let  us  name  the  holy  city, 
and  consecrate  it  with  Lesbian  wine. 

CiESAR.     Cleopatra  shall  name  it  herself. 

Cleopatra.    It  shall  be  called  Caesar's  Gift  to  his  Beloved. 

Apollodorus.  No,  no.  Something  vaster  than  that — 
something  universal,  like  the  starry  firmament. 

C^SAR  (prosaically).  Why  not  simply  The  Cradle  of  the 
Nile? 

Cleopatra.  No:  the  Nile  is  my  ancestor;  and  he  is  a 
god.  Oh!  I  have  thought  of  something.  The  Nile  shall 
name  it  himself.  Let  us  call  upon  him.  (To  the  Major- 
Domo)  Send  for  him.  (The  three  men  stare  at  one  another; 
but  the  Major-Domo  goes  out  as  if  he  had  received  the  most 
matter-of-fact  order.)     And  (to  the  retinue)  away  with  you  all. 

The  retinue  withdraws,  mahing  obeisance. 

A  priest  enters,  carrying  a  miniature  sphinx  with  a  tiny 
tripod  before  it.  A  morsel  of  incense  is  smoking  in  the  tripod. 
The  priest  comes  to  the  table  and  places  the  inuige  in  the  middle 
of  it.  The  light  begins  to  change  to  the  magenta  purple  of 
the  Egyptian  sunsett  as  if  the  god  had  brought  a  strange  colored 


Act  IV  Caesar  and  Cleopatra  95 

shadow  with  him.  The  three  men  are  determined  not  to  he 
impressed;  but  they  feel  curiotis  in  spite  of  theinselves. 

CAESAR.     What  hocus-pocus  is  this? 

Cleopatra.  You  shall  see.  And  it  is  n  o  t  hocus-pocus. 
To  do  it  properly,  we  should  kill  something  to  please  him; 
but  perhaps  he  will  answer  Caesar  without  that  if  we  spill 
some  wine  to  him. 

Apollodorus  {turning  his  head  to  look  up  over  his  shoulder 
at  Ra).     Why  not  appeal  to  our  hawkheaded  friend  here? 

Cleopatra  (nervously).  Sh!  He  will  hear  you  and  be  angry. 

RuFio  {phlegmxdically).  The  source  of  the  Nile  is  out  of 
his  district,  I  expect. 

Cleopatra.  No:  I  will  have  my  city  named  by  nobody 
but  my  dear  little  sphinx,  because  it  was  in  its  arms  that 
Caesar  found  me  asleep.  (She  languishes  at  Ccesar;  then 
turns  curtly  to  the  priest)  Go.  I  am  a  priestess,  and  have 
power  to  take  your  charge  from  you.  (The  priest  Tnakes  a 
reverence  and  goes  out.)  Now  let  us  call  on  the  Nile  all 
together.     Perhaps  he  will  rap  on  the  table. 

Ci5ESAR.  What!  table  rapping!  Are  such  superstitions 
still  believed  in  this  year  707  of  the  Republic? 

Cleopatra.  It  is  no  superstition:  our  priests  learn  lots 
of  things  from  the  tables.     Is  it  not  so,  Apollodorus? 

Apollodorus.  Yes:  I  profess  myself  a  converted  man. 
When  Cleopatra  is  priestess,  Apollodorus  is  devotee.  Pro- 
pose the  conjuration. 

Cleopatra.  You  must  say  with  me  "Send  us  thy  voice, 
Father  Nile." 

All  Four  (holding  their  glasses  together  before  the  idoT). 
Send  us  thy  voice.  Father  Nile. 

The  death  cry  of  a  man  in  mortal  terror  and  agony  answers 
them.  Appalled,  the  men  set  down  their  glasses,  and  listen. 
Silence.  The  purple  deepens  in  the  shy.  Coesar,  glancing  at 
Cleopatra,  catches  her  pouring  out  her  wine  before  the  god, 
with  gleaming  eyes,  and  mute  assurances  of  gratitude  and 
worship.  Apollodorus  springs  up  and  runs  to  the  edge  of  the 
roof  to  peer  down  and  listen. 


96  Caesar  and  Cleopatra  Act  IV 

CiESAK  (looking  piercingly  at  Cleopatra).    What  was  that? 

Cleopatra  (petulantly).  Nothing.  They  are  beating 
some  slave. 

Cesar.    Nothing! 

Rurio.     A  man  with  a  knife  in  him,  I'll  swear. 

CiESAR  (rising).    A  murder! 

Apollodorus  (at  the  back,  waving  his  hand  for  silence). 
S-sh!    Silence.     Did  you  hear  that? 

CiESAR.     Another  cry? 

Apollodorus  (returning  to  the  table).  No,  a  thud.  Some- 
thing fell  on  the  beach,  I  think. 

RuFio  (grimly,  as  he  rises) .    Something  with  bones  in  it,  eh  ? 

CiESAR  (shuddering).  Hush,  hush,  Rufio.  (He  leaves  the 
table  and  returns  to  the  colonnade:  Rufio  following  at  his  left 
elbow,  and  Apollodorus  at  the  other  side.) 

Cleopatra  (still  in  her  place  at  the  table).  Will  you  leave 
me,  Csesar?    Apollodorus:  are  you  going? 

Apollodorus.     Faith,  dearest  Queen,  my  appetite  is  gone. 

CiESAR.  Go  down  to  the  courtyard,  Apollodorus;  and 
find  out  what  has  happened. 

Apollodorus  nods  and  goes  out,  making  for  the  staircase  by 
which  Rufio  ascended. 

Cleopatra.  Your  soldiers  have  killed  somebody,  per- 
haps.   What  does  it  matter? 

The  murmur  of  a  crowd  rises  from  the  beach  below.  Ccesar 
and  Rufio  look  at  one  another. 

CiESAR.  This  must  be  seen  to.  (He  is  about  to  follow 
Apollodorus  when  Rufio  stops  him  with  a  hand  on  his  arm  as 
Ftatateeta  comes  back  by  the  far  end  of  the  roof,  with  dragging 
steps,  a  drowsy  satiety  in  her  eyes  and  in  the  comers  of  the 
bloodhound  lips.  For  a  moment  Coesar  suspects  that  she  is 
drunk  with  wine.  Not  so  Rufio:  he  knows  well  the  red  vintage 
that  has  inebriated  her.) 

Rufio  (in  a  low  tone).  There  is  some  mischief  between 
those  two. 

Ftatateeta.  The  Queen  looks  again  on  the  face  of  her 
servant. 


Act  IV  Caesar  and  Cleopatra  97 

Cleopatra  looks  at  her  for  a  moment  with  an  exultant  re- 
flection of  her  murderous  expression.  Then  she  flings  her 
arms  round  her;  kisses  her  repeatedly  and  savagely;  and  tears 
off  her  jewels  and  heaps  them  on  her.  The  two  men  turn  from 
the  spectacle  to  look  at  one  another.  Ftatateeta  drags  herself 
sleepily  to  the  aitar;  kneels  before  Ra;  and  remains  there  in 
prayer.  CcBsar  goes  to  Cleopatra,  leaving  Ruflo  in  the  colon- 
nade. 

Cesar  {with  searching  earnestness).  Cleopatra:  what  has 
happened  ? 

Cleopatra  (in  mortal  dread  of  him,  hut  with  her  utmost 
cajolery).  Nothing,  dearest  Caesar.  (With  sickly  sweetness, 
her  voice  almost  failing)  Nothing.  I  am  innocent.  (She 
approaches  him  affectionately)  Dear  Caesar:  are  you  angry 
with  me?  Why  do  you  look  at  me  so?  I  have  been  here 
with  you  all  the  time.     How  can  I  know  what  has  happened  ? 

C^SAR  (reflectively).     That  is  true. 

Cleopatra  (greatly  relieved,  trying  to  caress  him).  Of 
course  it  is  true.  (He  does  not  respond  to  the  caress.)  You 
know  it  is  true,  Rufio. 

The  murmur  without  suddenly  swells  to  a  roar  and  sub- 
sides. 

Rufio.  I  shall  know  presently.  (He  makes  for  the  altar 
in  the  burly  trot  that  serves  him  for  a  stride,  and  touches  Ftata- 
teeta on  the  shoulder.)  Now,  mistress:  I  shall  want  you.  (He 
orders  her,  with  a  gesture,  to  go  before  him.) 

Ftatateeta  (rising  and  glowering  at  him).  My  place  is 
with  the  Queen. 

Cleopatra.     She  has  done  no  harm,  Rufio. 

C^SAR  (to  Rufio).     Let  her  stay. 

Rufio  (sitting  down  on  the  altar).  Very  well.  Then  my 
place  is  here  too;  and  you  can  see  what  is  the  matter  for 
yourself.     The  city  is  in  a  pretty  uproar,  it  seems. 

C^SAR  (unth  grave  displeasure).  Rufio:  there  is  a  time  for 
obedience. 

Rufio.  And  there  is  a  time  for  obstinacy.  (He  folds  his 
arms  doggedly.) 


98  Caesar  and  Cleopatra  Act  IV 

C-ESAR  (to  Cleopatra).     Send  her  away. 

Cleopatra  {whining  in  her  eagerness  to  propitiate  him). 
Yes,  I  will.  I  will  do  whatever  you  ask  me,  Caesar,  always, 
because  I  love  you.     Ftatateeta:  go  away. 

Ftatateeta.  The  Queen's  word  is  my  will.  I  shall  be 
at  hand  for  the  Queen's  call.  (She  goes  out  past  Ra,  as  she 
came.) 

RuFio  (following  her).  Remember,  Caesar,  your  body- 
guard also  is  within  call.     (He  follows  her  out.) 

Cleopatra,  presuming  upon  Cwsar's  submission  to  Rvfio, 
leaves  the  table  and  sits  down  on  the  bench  in  the  colonnade. 

Cleopatra.  Why  do  you  allow  Rufio  to  treat  you  so? 
You  should  teach  him  his  place. 

C^sAR.  Teach  him  to  be  my  enemy,  and  to  hide  his 
thoughts  from  me  as  you  are  now  hiding  yours. 

Cleopatra  (her  fears  returning).  Why  do  you  say  that, 
Csesar?  Indeed,  indeed,  I  am  not  hiding  anything.  You 
are  wrong  to  treat  me  like  this.  (She  stifles  a  sob.)  I  am 
only  a  child ;  and  you  turn  into  stone  because  you  think  some 
one  has  been  killed.  I  cannot  bear  it.  (She  purposely 
breaks  down  and  weeps.  He  looks  at  her  with  profound  sad- 
ness and  complete  coldness.  She  looks  up  to  see  what  effect  she 
is  producing.  Seeing  that  he  is  unmoved,  she  sits  up,  pre- 
tending to  struggle  unth  her  emotion  and  to  put  it  bravely  away.) 
But  there:  I  know  you  hate  tears:  you  shall  not  be  troubled 
with  them.  I  know  you  are  not  angry,  but  only  sad;  only 
I  am  so  silly,  I  cannot  help  being  hurt  when  you  speak  coldly. 
Of  course  you  are  quite  right:  it  is  dreadful  to  think  of  any- 
one being  killed  or  even  hurt;  and  I  hope  nothing  really 
serious  has —  (Her  voice  dies  atvay  under  his  contemptuous 
penetration.) 

C^sAR.  What  has  frightened  you  into  this?  What  have 
you  done?  (A  trumpet  sounds  on  the  beach  beloiv)  Aha! 
that  sounds  like  the  answer. 

Cleopatra  (sinking  back  trembling  on  the  bench  and  cov- 
ering her  face  with  her  hands).  I  have  not  betrayed  you, 
Csesar:  I  swear  it. 


Act  IV  Caesar  and  Cleopatra  99 

CiGSAR.  I  know  that.  I  have  not  trusted  you.  {He  turns 
from  her,  and  is  about  to  go  out  when  Apollodonis  and  Britan- 
nus  drag  in  Lucitis  Septimius  to  him.  Rufio  follows.  Ccesar 
shudders.)     Again,  Pompey's  murderer! 

Rufio.  The  town  has  gone  mad,  I  think.  They  are  for 
tearing  the  palace  down  and  driving  us  into  the  sea  straight 
away.  We  laid  hold  of  this  renegade  in  clearing  them  out 
of  the  courtyard. 

C^SAB.  Release  him.  {They  let  go  his  arms.)  What  has 
oflFended  the  citizens,  Lucius  Septimius? 

Lucius.  What  did  you  expect,  Caesar?  Pothinus  was  a 
favorite  of  theirs. 

Cjesak.  What  has  happened  to  Pothinus  ?  I  set  him  free, 
here,  not  half  an  hour  ago.     Did  they  not  pass  him  out? 

Lucius.  Ay,  through  the  gallery  arch  sixty  feet  above 
ground,  with  three  inches  of  steel  in  his  ribs.  He  is  as  dead 
as  Pompey.    We  are  quits  now,  as  to  killing — ^you  and  I. 

CiESAR  {shocked).  Assassinated! — our  prisoner,  our  guest! 
{He  turns  reproachfully  on  Rufio)  Rufio 

Rufio  {emphatically — anticipating  the  question).  Whoever 
did  it  was  a  wise  man  and  a  friend  of  yours  {Cleopatra  is 
greatly  emboldened) ;  but  none  of  u  s  had  a  hand  in  it.  So 
it  is  no  use  to  frown  at  me.  {Caesar  turns  and  looks  at  Cleo- 
patra.) 

Cleopatra  {violently — rising).  He  was  slain  by  order  of 
the  Queen  of  Egypt.  I  am  not  Julius  Caesar  the  dreamer, 
who  allows  every  slave  to  insult  him.  Rufio  has  said  I  did 
well:  now  the  others  shall  judge  me  too.  {She  turns  to  the 
others)  This  Pothinus  sought  to  make  me  conspire  with 
him  to  betray  Caesar  to  Achillas  and  Ptolemy.  I  refused; 
and  he  cursed  me  and  came  privily  to  Caesar  to  accuse  me 
of  his  own  treachery.  I  caught  him  in  the  act;  and  he  in- 
sulted me — -m  e,  the  Queen !  to  my  face.  Caesar  would  not 
avenge  me:  he  spoke  him  fair  and  set  him  free.  Was  I  right 
to  avenge  myself?     Speak,  Lucius. 

Lucius.  I  do  not  gainsay  it.  But  you  will  get  little 
thanks  from  Caesar  for  it. 


100  Csesar  and  Cleopatra  Act  rv 

Cleopatra.     Speak,  ApoUodorus.     Was  I  wrong? 

Apollodorus.  I  have  only  one  word  of  blame,  most 
beautiful.  You  should  have  called  upon  me,  your  knight; 
and  in  fair  duel  I  should  have  slain  the  slanderer. 

Cleopatra  {passionately).  I  will  be  judged  by  your  very 
slave,  Caesar.     Britannus:  speak.     Was  I  wrong? 

Britannus.  Were  treachery,  falsehood,  and  disloyalty 
left  unpunished,  society  must  become  like  an  arena  full  of 
wild  beasts,  tearing  one  another  to  pieces.  Caesar  is  in  the 
wrong. 

CffiSAR  {vyith  quid  bitterness).  And  so  the  verdict  is  against 
me,  it  seems. 

Cleopatra  {vehemently).  Listen  to  me,  Csesar.  If  one 
man  in  all  Alexandria  can  be  found  to  say  that  I  did  wrong, 
I  swear  to  have  myself  crucified  on  the  door  of  the  palace  by 
my  own  slaves. 

CAESAR.  If  one  man  in  all  the  world  can  be  found,  now 
or  forever,  to  know  that  you  did  wrong,  that  man  will 
have  either  to  conquer  the  world  as  I  have,  or  be  crucified 
by  it.  {The  uproar  in  the  streets  again  reaches  them.)  Do 
you  hear?  These  knockers  at  your  gate  are  also  believers  in 
vengeance  and  in  stabbing.  You  have  slain  their  leader:  it 
is  right  that  they  shall  slay  you.  If  you  doubt  it,  ask  your 
four  counsellors  here.  And  then  in  the  name  of  that  right 
(he  emphasizes  the  word  with  great  scorn)  shall  I  not  slay 
them  for  murdering  their  Queen,  and  be  slain  in  my  turn  by 
their  countrymen  as  the  invader  of  their  fatherland?  Can 
Rome  do  less  then  than  slay  these  slayers  too,  to  shew  the 
world  how  Rome  avenges  her  sons  and  her  honor?  And  so, 
to  the  end  of  history,  murder  shall  breed  murder,  always  in 
the  name  of  right  and  honor  and  peace,  until  the  gods  are 
tired  of  blood  and  create  a  race  that  can  understand.  {Fierce 
uproar.  Cleopatra  becomes  white  with  terror.)  Hearken,  you 
who  must  not  be  insulted.  Go  near  enough  to  catch  their 
words:  you  will  find  them  bitterer  than  the  tongue  of  Pothi- 
nus.  {Loftily  wrapping  himself  vp  in  an  impenetrable  dig- 
nity.)    Let  the  Queen  of  Egypt  now  give  her  orders  for 


Act  IV  Caesar  and  Cleopatra  101 

vengeance,  and  take  her  measures  for  defence;  for  she  has 
renounced  Caesar.     {He  turns  to  go.) 

Cleopatra,  (terrified,  running  to  him  and  falling  on  her 
knees) .  You  will  not  desert  me,  Caesar.  You  will  defend  the 
palace. 

Cesar.  You  have  taken  the  powers  of  life  and  death 
upon  you.     I  am  only  a  dreamer. 

Cleopatra.     But  they  will  kill  me. 

Cesar.    And  why  not? 

Cleopatra.     In  pity 

Cesar.  Pity!  What!  has  it  come  to  this  so  suddenly, 
that  nothing  can  save  you  now  but  pity  ?  Did  it  save  Pothi- 
nus? 

She  rises,  wringing  her  hands,  and  goes  back  to  the  bench 
in  despair.  Apollodorv^  shews  his  sympathy  with  her  by 
quietly  posting  himself  behind  the  bench.  The  sky  has  by  this 
time  become  the  most  vivid  purple,  and  soon  begins  to  change 
to  a  glovnng  pale  orange,  against  which  the  colonnade  and  the 
great  image  show  darklter  and  darklier. 

RuFio.  Caesar:  enough  of  preaching.  The  enemy  is  at 
the  gate. 

C^SAR  (turning  on  him  and  giving  way  to  his  wrath).  Ay; 
and  what  has  held  him  baffled  at  the  gate  all  these  months? 
Was  it  my  folly,  as  you  deem  it,  or  your  wisdom?  In  this 
Egyptian  Red  Sea  of  blood,  whose  hand  has  held  all  your 
heads  above  the  waves?  (Turning  on  Cleopatra)  And  yet, 
when  Caesar  says  to  such  an  one,  "Friend,  go  free,"  you, 
clinging  for  your  little  life  to  my  sword,  dare  steal  out  and 
stab  him  in  the  back  ?  And  you,  soldiers  and  gentlemen,  and 
honest  servants  as  you  forget  that  you  are,  applaud  this  as- 
sassination, and  say  "Cfesar  is  in  the  wrong."  By  the  gods, 
I  am  tempted  to  open  my  hand  and  let  you  all  sink  into  the 
flood. 

Cleopatra  (xoith  a  ray  of  cunning  hope).  But,  Caesar,  if 
you  do,  you  will  perish  yourself. 

Ccesnr*s  eyes  blaze. 

KxJFio  (greatly  alarmed).    Now,  by  p:eat  Jove,  you  filthy 


102  Caesar  and  Cleopatra  Act  rv 

little  Egyptian  rat,  that  is  the  very  word  to  make  him  walk 
out  alone  into  the  city  and  leave  us  here  to  be  cut  to  pieces. 
(Desperately,  to  Caesar)  WiU  you  desert  us  because  we  are 
a  parcel  of  fools  ?  I  mean  no  harm  by  killing:  I  do  it  as  a  dog 
kills  a  cat,  by  instinct.  We  are  all  dogs  at  your  heels;  but  we 
have  served  you  faithfully. 

CjESAR  {relenting).  Alas,  Rufio,  my  son,  my  son:  as  dogs 
we  are  like  to  perish  now  in  the  streets. 

Apollodorus  {at  his  post  behind  Cleopatra's  seat).  Caesar, 
what  you  say  has  an  Olympian  ring  in  it:  it  must  be  right; 
for  it  is  fine  art.  But  I  am  still  on  the  side  of  Cleopatra.  If 
we  must  die,  she  shall  not  want  the  devotion  of  a  man's  heart 
nor  the  strength  of  a  man's  arm. 

Cleopatra  {sobbing).     But  I  don't  want  to  die. 

C^SAR  {sadly).     Oh,  ignoble,  ignoble! 

Lucius  {coming  forward  between  Cassar  and  Cleopatra). 
Hearken  to  me,  Caesar.  It  may  be  ignoble;  but  I  also  mean 
to  live  as  long  as  I  can. 

C^SAR.  Well,  my  friend,  you  are  likely  to  outlive  Csesar. 
Is  it  any  magic  of  mine,  think  you,  that  has  kept  your  army 
and  this  whole  city  at  bay  for  so  long?  Yesterday,  what 
quarrel  had  they  with  me  that  they  should  risk  their  lives 
against  me  ?  But  to-day  we  have  flung  them  down  their  hero, 
murdered;  and  now  every  man  of  them  is  set  upon  clearing 
out  this  nest  of  assassins — for  such  we  are  and  no  more. 
Take  courage  then;  and  sharpen  your  sword.  Pompey's 
head  has  fallen;  and  Caesar's  head  is  ripe. 

Apollodorus.     Does  Caesar  despair? 

C.«}SAR  {with  infinite  pride).  He  who  has  never  hoped  can 
never  despair.  Caesar,  in  good  or  bad  fortune,  looks  his  fate 
in  the  face. 

Lucius.  Look  it  in  the  face,  then;  and  it  will  smile  as  it 
always  has  on  Caesar. 

CiESAR  {with  involuntary  haughtiness).  Do  you  presume 
to  encourage  me? 

Lucius.  I  offer  you  my  services.  I  will  change  sides  if 
you  will  have  me. 


Act  IV  Caesar  and  Cleopatra  103 

CiESAR  {^suddenly  coming  dawn  to  earth  again,  and  looking 
sharply  at  him,  divining  that  there  is  something  behind  the 
ojfer).    What!    At  this  point? 

Lucius  {firmly).    At  this  point. 

RuFio.    Do  you  suppose  Caesar  is  mad,  to  trust  you  ? 

Lucius.  I  do  not  ask  him  to  trust  me  until  he  is  victorious. 
I  ask  for  my  life,  and  for  a  command  in  Caesar's  army.  And 
since  Caesar  is  a  fair  dealer,  I  will  pay  in  advance. 

C^SAR.    Pay!    How? 

Lucius.     With  a  piece  of  good  news  for  you. 

CoBsar  divines  the  news  in  a  'flash. 

RuFio.    What  news? 

C^SAR  (with  an  elate  and  biioyant  energy  which  makes 
Cleopatra  sit  up  and  stare).  What  news!  What  news,  did 
you  say,  my  son  Rufio?  The  relief  has  arrived:  what  other 
news  remains  for  us  ?  Is  it  not  so,  Lucius  Septimius  ?  Mith- 
ridates  of  Pergamos  is  on  the  march. 

Lucius.     He  has  taken  Pelusium. 

Cesar  (delighted).  Lucius  Septimius:  you  are  henceforth 
my  oflScer.  Rufio:  the  Egyptians  must  have  sent  every  sol- 
dier from  the  city  to  prevent  Mithridates  crossing  the  Nile. 
There  is  nothing  in  the  streets  now  but  mob — mob! 

Lucius.  It  is  so.  Mithridates  is  marching  by  the  great 
road  to  Memphis  to  cross  above  the  Delta.  Achillas  will  fight 
him  there. 

C.ESAR  (all  audacity).  Achillas  shall  fight  Caesar  there. 
See,  Rufio.  {He  runs  to  the  table;  snatches  a  napkin;  and 
draws  a  plan  on  it  with  his  finger  dipped  in  wine,  whilst  Rufio 
and  Lu<dus  Septimius  crowd  about  him  to  watch,  all  looking 
closely,  for  the  light  is  now  almost  gone.)  Here  is  the  palace 
{pointing  to  his  plan):  here  is  the  theatre.  You  {to  Rufio) 
take  twenty  men  and  pretend  to  go  by  t  h  a  t  street  (pointing 
it  out);  and  whilst  they  are  stoning  you,  out  go  the  cohorts 
by  this  and  this.     My  streets  are  right,  are  they,  Lucius? 

Lucius.     Ay,  that  is  the  fig  market 

C^SAR  (too  much  excited  to  listen  to  him).  I  saw  them  the 
day  we  arrived.    Good!     (He  throws  the  napkin  on  the  table 


104  Caesar  and  Cleopatra  Act  IV 

and  comes  down  again  into  the  colonnade.)  Away,  Britannus: 
tell  Petronius  that  within  an  hour  half  our  forces  must  take 
ship  for  the  western  lake.  See  to  my  horse  and  armor. 
(Britannus  runs  out.)  With  the  rest,  /  shall  march  round  the 
lake  and  up  the  Nile  to  meet  Mithridates.  Away,  Lucius; 
and  give  the  word. 

Lucius  hurries  out  after  Britannus. 

RxjFio.     Come:  this  is  something  like  business. 

Ci9SSAB  (buoyantly).  Is  it  not,  my  only  son.?  (He  claps 
his  hands.  The  slaves  hurry  in  to  the  table.)  No  more  of  this 
mawkish  revelling:  away  with  all  this  stuff:  shut  it  out  of  my 
sight  and  be  off  with  you.  (The  slaves  begin  to  remove  the 
table;  and  the  curtains  are  dratvn,  shutting  in  the  colonnade.) 
You  understand  about  the  streets,  Rufio? 

RuFio.  Ay,  I  think  I  do.  I  will  get  through  them,  at  all 
events. 

The  buxnna  sounds  busily  in  the  courtyard  beneath. 

C^SAR.  Come,  then:  we  must  talk  to  the  troops  and 
hearten  them.  You  down  to  the  beach:  I  to  the  courtyard. 
(He  makes  for  the  staircase.) 

Cleopatra  (rising  from  her  seat,  where  she  has  been  quite 
neglected  all  this  time,  and  stretching  out  her  hands  timidly  fft 
him).     Caesar. 

CiKSAR  (turning).    Eh? 

Cleopatra.     Have  you  forgotten  me? 

CjEsar  (indidgently) .  I  am  busy  now,  my  child,  busy. 
When  I  return  your  affairs  shall  be  settled.  Farewell;  and  be 
good  and  patient. 

He  goes,  preoccupied  and  quite  indifferent.  She  stands  with 
clenched  fists,  in  speechless  rage  and  humiliation. 

Rufio.  That  game  is  played  and  lost,  Cleopatra.  The 
woman  always  gets  the  worst  of  it. 

Cleopatra  (haughtily).     Go.     Follow  your  master. 

Rufio  (in  her  ear,  with  rough  fcmiliarrty) .  A  word  first. 
Tell  your  executioner  that  if  Pothinus  had  been  properly 
killed — i  n  the  throa  t — he  would  not  have  called  out 
Your  man  bungled  his  work. 


Act  IV  CaBsar  and  Cleopatra  105 

Cleopatra  (enigmatically).    How  do  you  know  it  was  a 


man 


Rurio  (startled,  and  puzded).  It  was  not  you:  you  were 
with  us  when  it  happened.  (She  turns  her  back  scomfvlly  on 
him.  He  shakes  his  head,  and  draws  the  curtains  to  go  otU, 
It  is  now  a  magnificent  moonlit  night.  The  table  has  been 
removed.  Ftatateeta  is  seen  in  the  light  of  the  moon  and  stars, 
again  in  prayer  before  the  white  altar-stone  of  Ra.  Rufio 
starts;  closes  the  curtains  again  softly:  and  says  in  a  low  voice 
to  Cleopatra)  Was  it  she?  with  her  own  hand? 

Cleopatra  (threateningly).  Whoever  it  was,  let  my  ene- 
mies beware  of  her.  Look  to  it,  Rufio,  you  who  dare  make 
the  Queen  of  Egypt  a  fool  before  Caesar. 

Rtjfio  (looking  grimly  at  her).  I  will  look  to  it,  Cleo- 
patra. (He  nods  in  confirmation  of  the  promise,  and  slips  out 
through  the  curtains,  loosening  his  sword  in  its  sheath  as  he 
goes) 

Roman  Soldiers  (in  the  courtyard  below).  Hail,  Caesar! 
Hail,  hail! 

Cleopatra  listens.  The  bucina  sounds  again,  followed  by 
several  trumpets. 

Cleopatra  (wringing  her  hands  and  calling).  Ftatateeta. 
Ftatateeta.  It  is  dark;  and  I  am  alone.  Come  to  me. 
(Silence.)  Ftatateeta.  (Louder.)  Ftatateeta.  (Silence.  In 
a  panic  she  snatches  the  cord  and  pulls  the  curtains  apart.) 

Ftatateeta  is  lying  dead  on  the  altar  of  Ra,  with  her  throat 
cut.    Her  blood  deluges  the  white  stone. 

ENB  OF  ACT  IV. 


ACT  V 

High  noon.  Festival  and  military  pageant  on  the  esplanade 
before  the  palace.  In  the  east  harbor  CcBsar^s  galley,  so  gor- 
geously decorated  that  it  seems  to  be  rigged  with  flowers,  is  along- 
side the  quay,  close  to  the  steps  Apollodorus  descended  when  he 
embarked  with  the  carpet.  A  Roman  guard  is  posted  there  in 
charge  of  a  gangway,  whence  a  red  floorcloth  is  laid  down  the 
middle  of  the  esplanade,  turning  off  to  the  north  opposite  the 
central  gate  in  the  palace  front,  which  shuts  in  the  esplanade  on 
the  south  side.  The  broad  steps  of  the  gate,  crowded  with  Cleo- 
patra's ladies,  all  in  their  gayest  attire,  are  like  a  flower  garden. 
The  facade  is  lined  by  her  guard,  officered  by  the  same  gallants  to 
whom  Bel  Affris  announced  the  coming  of  Ccesar  six  months  be- 
fore in  the  old  palace  on  the  Syrian  border.  The  north  side  is 
lined  by  Roman  soldiers,  ivith  the  townsfolk  on  tiptoe  behind 
them,  peering  over  their  heads  at  the  cleared  esplanade,  in  which 
the  offers  stroll  about,  chatting.  Among  these  are  Belzanor  and 
the  Persian;  also  the  Centurion,  vinewood  cudgel  in  hand,  battle 
worn,  thick-booted,  and  much  outshone,  both  socially  and  dcco- 
raiively,  by  the  Egyptian  officers. 

Apollodorus  makes  his  way  through  the  townsfolk  and  calls  to 
the  officers  from  behind  the  Roman  line. 

ApotxoDORUs.    Hullo!    May  I  pass? 

Centukion.  Pass  Apollodorus  the  Sicilian  there!  (The 
soldiers  let  him  through.) 

Belzanor.     Is  Caesar  at  hand  ? 

Apollodorus.  Not  yet.  He  is  still  in  the  market  place. 
I  could  not  stand  any  more  of  the  roaring  of  the  soldiers !  Af- 
ter half  an  hour  of  the  enthusiasm  of  an  army,  one  feels  the 
need  of  a  little  sea  air. 

Persian.    Tell  us  the  news.    Hath  he  slain  the  priests? 


Act  V  Caesar  and  Cleopatra  107 

Apollodorus.  Not  he.  They  met  him  in  the  market 
place  with  ashes  on  their  heads  and  their  gods  in  their  hands- 
They  placed  the  gods  at  his  feet.  The  only  one  that  was  worth 
looking  at  was  Apis :  a  miracle  of  gold  and  ivory  work.  By  my 
advice  he  offered  the  chief  priest  two  talents  for  it. 

Belzanor  (appalled) .  Apis  the  all-knowing  for  two  talents ! 
What  said  the  chief  priest? 

Apollodorus.  He  invoked  the  mercy  of  Apis,  and  asked 
for  five. 

Belzanor.  There  will  be  famine  and  tempest  in  the  land 
for  this. 

Persian.  Pooh!  Why  did  not  Apis  cause  Caesar  to  be 
vanquished  by  Achillas?  Any  fresh  news  from  the  war, 
Apollodorus  ? 

Apollodorus.    The  little  King  Ptolemy  was  drowned. 

Belzanor.     Drowned!    How? 

Apollodorus.  With  the  rest  of  them.  Caesar  attacked 
them  from  three  sides  at  once  and  swept  them  into  the  Nile* 
Ptolemy's  barge  sank. 

Belzanor.  A  marvelous  man,  this  Caesar!  Will  he  come 
soon,  think  you  ? 

Apollodorus.  He  was  settling  the  Jewish  question  when 
I  left. 

A  flourish  of  trumpets  from  the  north,  and  commotion  among 
the  townsfolk,  announces  the  approach  of  Ccesar. 

Persian.  He  has  made  short  work  of  them.  Here  he 
comes.     {He  hurries  to  his  post  in  front  of  the  Egyptian  lines.) 

Belzanor  (following  him).     Ho  there!     Caesar  comes. 

The  soldiers  stand  at  attention,  and  dress  their  lines.  Apollo- 
dorus goes  to  the  Egyptian  line. 

Centurion  (hurrying  to  the  gangway  guard).  Attention 
there!    Caesar  comes. 

Ccesar  arrives  in  state  vnth  Rufio:  Briiannus  following.  The 
soldiers  receive  him  with  enthusiastic  shouting. 

CjESar.  I  see  my  ship  awaits  me.  The  hour  of  Caesar's 
farewell  to  Egypt  has  arrived.  And  now,  Rufio,  what  remains 
to  be  done  before  I  go? 


108  Csesar  and  Cleopatra  Act  V 

RuFio  (at  his  left  hand).  You  have  not  yet  appointed  a 
Roman  governor  for  this  province. 

CAESAR  (looking  whimsically  at  him,  hut  speaking  with  perfect 
gravity).  What  say  you  to  Mithridates  of  Pergamos,  my  re- 
liever and  rescuer,  the  great  son  of  Eupator  ? 

RuFio.  Why,  that  you  will  want  him  elsewhere.  Do  you 
forget  that  you  have  some  three  or  four  armies  to  conquer  on 
your  way  home  ? 

CjEsar.     Indeed!    Well,  what  say  you  to  yourself? 

RuFio  (incredulously).  I!  la  governor!  What  are  you 
dreaming  of  ?  Do  you  not  know  that  I  am  only  the  son  of  a 
f  reedman  ? 

CiESAR  (affectionately).  Has  not  Cfesar  called  you  his  son? 
(Calling  to  the  whole  assembly)  Peace  awhile  there;  and  hear 
me. 

The  Roman  Soldiers.     Hear  Caesar. 

CiESAR.  Hear  the  service,  quality,  rank  and  name  of  the 
Roman  governor.  By  service,  Caesar's  shield;  by  quality, 
Caesar's  friend;  by  rank,  a  Roman  soldier.  (The  Roman  sol- 
diers give  a  triumphant  shxnd.)  By  name,  Rufio.  (They 
shout  again.) 

Rufio  (kissing  Ccesar's  hand).  Ay:  I  am  Caesar's  shield; 
but  of  what  use  shall  I  be  when  I  am  no  longer  on  Caesar's  arm  ? 
Well,  no  matter —  (He  becomes  husky,  and  turns  away  to 
recover  himself.) 

CiESAR.     Where  is  that  British  Islander  of  mine  ? 

Britannus  (coming  forward  on  Ceesar's  right  hand).  Here, 
Caesar. 

CAESAR.  Who  bade  you,  pray,  thrust  yourself  into  the  battle 
of  the  Delta,  uttering  the  barbarous  cries  of  your  native  land, 
and  affirming  yourself  a  match  for  any  four  of  the  Egj'ptians, 
to  whom  you  applied  unseemly  epithets? 

Britannus.  Csesar:  I  ask  you  to  excuse  the  language  that 
escaped  me  in  the  heat  of  the  moment. 

CiESAR.  And  how  did  you,  who  cannot  swim,  cross  the 
canal  with  us  when  we  stormed  the  camp  ? 

Britannus.    Caesar:  I  clung  to  the  tail  of  your  horse. 


Act  V  Cffisar  and  Cleopatra  109 

Ci5ESAR.  These  are  not  the  deeds  of  a  slave,  Britannicus, 
but  of  a  free  man. 

Britannus.     Caesar:  I  was  bom  free. 

CiESAB.     But  they  call  you  Ctesar's  slave. 

Britannus.  Only  as  Csesar's  slave  have  I  found  real  free- 
dom. 

C-fiSAR  (moved).  Well  said.  Ungrateful  that  I  am,  I  was 
about  to  set  you  free;  but  now  I  will  not  part  from  you  for  a 
million  talents.  (He  daps  him  friendly  on  the  shovlder.  Brit- 
annus, gratified,  but  a  trifle  shamefaced,  takes  his  hand  and 
kisses  it  sheepishly.) 

Belzanor  (to  the  Persian).  This  Roman  knows  how  to 
make  men  serve  him. 

Persian.  Ay:  men  too  humble  to  become  dangerous  rivals 
to  him. 

Belzanor.    O  subtle  one!    O  cynic! 

C^SAR  (seeing  Apollodorus  in  the  Egyptian  comer  and  call- 
ing to  him).  Apollodorus:  I  leave  the  art  of  Egypt  in  your 
charge.  Remember :  Rome  loves  art  and  will  encourage  it  un- 
grudgingly. 

Apollodorus.  I  understand,  Caesar.  Rome  will  produce 
no  art  itself;  but  it  will  buy  up  and  take  away  whatever  the 
other  nations  produce. 

CiESAR.  What!  Rome  produce  no  art!  Is  peace  not  an 
art?  is  war  not  an  art?  is  government  not  an  art?  is  civiliza- 
tion not  an  art  ?  All  these  we  give  you  in  exchange  for  a  few 
ornaments.  You  will  have  the  best  of  the  bargain.  (  Turning 
to  Rufio)  And  now,  what  else  have  I  to  do  before  I  embark  ? 
(Trying  to  recollect)  There  is  something  I  cannot  remember: 
what  c  a  n  it  be  ?  Well,  well :  it  must  remain  undone :  we  must 
not  waste  this  favorable  wind.     Farewell,  Rufio. 

Runo.  Caesar:  I  am  loth  to  let  you  go  to  Rome  without 
your  shield.    There  are  too  many  daggers  there. 

C^SAR.  It  matters  not:  I  shall  finish  my  life's  work  on 
my  way  back;  and  then  I  shall  have  lived  long  enough.  Be- 
sides: I  have  always  disliked  the  idea  of  dying:  I  had  rather 
be  killed.     Farewell. 


110  Caesar  and  Cleopatra  Act  V 

RuFio  (ivith  a  sigh,  raising  his  hands  and  giving  Ccesar 
up  as  incorrigible).     Farewell.     {.They  shake  hands.) 

CAESAR  {waving  his  hand  to  Apollodorus).  Farewell, 
ApoUodorus,  and  my  friends,  all  of  you.    Aboard! 

The  gangway  is  run  ovi  from  the  quay  to  the  ship.  As 
CoEsar  moves  towards  it,  Cleopatra,  cold  and  tragic,  cunningly 
dressed  in  black,  toithovi  ornaments  or  decoration  of  any  kind, 
and  thus  making  a  striking  figure  among  the  brilliantly  dressed 
bevy  of  ladies  as  she  passes  through  it,  comes  from  the  palace 
and  stands  on  the  steps.  Ccesar  does  not  see  her  until  she 
speaks. 

Cleopatra.     Has  Cleopatra  no  part  in  this  leave  taking? 

CiESAR  {enlightened).  Ah,  I  k  n  e  w  there  was  something. 
{To  Rufio)  How  could  you  let  me  forget  her,  Rufio?  {Hast- 
ening to  her)  Had  I  gone  without  seeing  you,  I  should 
never  have  forgiven  myself.  {He  takes  her  hands,  and  brings 
tier  into  the  middle  of  the  esplanade.  She  submits  stonily.)  Is 
this  mourning  for  me  ? 

Cleopatra.    No. 

CiESAR  {remorsefully).  Ah,  that  was  thoughtless  of  me! 
It  is  for  your  brother. 

Cleopatra.    No. 

CiESAR.     For  whom,  then? 

Cleopatra.  Ask  the  Roman  governor  whom  you  have 
left  us. 

CiESAR.    Rufio  ? 

Clexjpatra.  Yes:  Rufio.  {She  points  at  him  wiih  deadly 
scorn.)  He  who  is  to  rule  here  in  Caesar's  name,  in  Caesar's 
way,  according  to  Caesar's  boasted  laws  of  life. 

CAESAR  {dubiously).  He  is  to  rule  as  he  can,  Cleopatra. 
He  has  taken  the  work  upon  him,  and  will  do  it  in  his  own 
way. 

Cleopatra.     Not  in  your  way,  then? 

CiESAR  {puzded).     What  do  you  mean  by  my  way? 

Cleopatra.  Without  punishment.  Without  revenge. 
Without  judgment. 

C.«SAR  {approvingly).    Ay:  that  is  the  right  way,  the  great 


Act  V  Caesar  and  Cleopatra  111 

way,  the  only  possible  way  in  the  end.  {To  Rufio)  Believe 
it,  Rufio,  if  you  can. 

Rufio.  Why,  I  believe  it,  Caesar.  You  have  convinced 
me  of  it  long  ago.  But  look  you.  You  are  sailing  for 
Numidia  to-day.  Now  tell  me:  if  you  meet  a  hungry  lion 
there,  you  will  not  punish  it  for  wanting  to  eat  you  ? 

CiESAB  (wondering  what  he  is  driving  at).     No. 

Rufio.  Nor  revenge  upon  it  the  blood  of  those  it  has 
already  eaten. 

CiESAR.      No. 

Rufio.     Nor  judge  it  for  its  guiltiness. 

C^SAR.     No. 

Rufio.    What,  then,  will  you  do  to  save  your  life  from  it? 

C^SAR  (promptly).  Kill  it,  man,  without  malice,  just  as 
it  would  kill  me.    What  does  this  parable  of  the  lion  mean? 

Rufio.  Why,  Cleopatra  had  a  tigress  that  killed  men  at 
her  bidding.  I  thought  she  might  bid  it  kill  you  some  day. 
Well,  had  I  not  been  Caesar's  pupil,  what  pious  things  might 
I  not  have  done  to  that  tigress?  I  might  have  punished  it. 
I  might  have  revenged  Pothinus  on  it. 

CiESAR  (interjects).     Pothinus! 

Rufio  (continuing).  I  might  have  judged  it.  But  I  put 
all  these  follies  behind  me;  and,  without  malice,  only  cut  its 
throat.  And  that  is  why  Cleopatra  comes  to  you  in  mourn- 
ing. 

Cleopatra  (vehemently).  He  has  shed  the  blood  of  my 
servant  Ftatateeta.  On  your  head  be  it  as  upon  his,  Caesar, 
if  you  hold  him  free  of  it. 

C^SAR  (energetically).  On  my  head  be  it,  then;  for  it  was 
well  done.  Rufio:  had  you  set  yourself  in  the  seat  of  the 
judge,  and  with  hateful  ceremonies  and  appeals  to  the  gods 
handed  that  woman  over  to  some  hired  executioner  to  be 
slain  before  the  people  in  the  name  of  justice,  never  again 
would  I  have  touched  your  hand  without  a  shudder.  But 
this  was  natural  slaying:  I  feel  no  horror  at  it. 

Rufio,  satisfied,  nods  at  Cleopatra,  mutely  inviting  her  to 
mark  thai. 


112  Caesar  and  Cleopatra  Act  V 

Cleopatra  (pettish  and  childish  in  her  impotence).  No: 
not  when  a  Roman  slays  an  Egyptian.  All  the  world  will 
now  see  how  unjust  and  corrupt  Caesar  is. 

C^SAR  (taking  her  hands  coaxingly).  Come:  do  not  be 
angry  with  me.  I  am  sorry  for  that  f>oor  Totateeta.  (She 
laughs  in  spite  of  herself.)  Aha!  you  are  laughing.  Does 
that  mean  reconciliation? 

Cleopatra  (angry  with  herself  for  laiighing).  No,  n  o, 
NO ! !    But  it  is  so  ridiculous  to  hear  you  call  her  Totateeta, 

CiESAR.  What!  As  much  a  child  as  ever,  Cleopatra! 
Have  I  not  made  a  woman  of  you  after  all? 

Cleopatra.  Oh,  it  is  you  who  are  a  great  baby:  you 
make  me  seem  silly  because  you  will  not  behave  seriously. 
But  you  have  treated  me  badly;  and  I  do  not  forgive  you. 

CiESAR.     Bid  me  farewell. 

Cleopatra.    I  will  not. 

CAESAR  (coaxing).  I  will  send  you  a  beautiful  present 
from  Rome. 

Cleopatra  (proudly).  Beauty  from  Rome  to  Egypt 
indeed!  What  can  Rome  give  me  that  Egypt  cannot  give 
me? 

Apollodorus.  That  is  true,  Caesar.  If  the  present  is 
to  be  really  beautiful,  I  shall  have  to  buy  it  for  you  in  Alex- 
andria. 

CiESAR.  You  are  forgetting  the  treasures  for  which  Rome 
is  most  famous,  my  friend.  You  cannot  buy  them  in 
Alexandria. 

Apollodorus.     What  are  they,  Caesar? 

CiESAR.  Her  sons.  Come,  Cleopatra:  forgive  me  and 
bid  me  farewell;  and  I  will  send  you  a  man,  Roman  from 
head  to  heel  and  Roman  of  the  noblest;  not  old  and  ripe 
for  the  knife;  not  lean  in  the  arms  and  cold  in  the  heart;  not 
hiding  a  bald  head  under  his  conqueror's  laurels;  not  stooped 
with  the  weight  of  the  world  on  his  shoulders;  but  brisk  and 
fresh,  strong  and  young,  hoping  in  the  morning,  fighting  in 
the  day,  and  revelling  in  the  evening.  Will  you  take  such  an 
one  in  exchange  for  Caesar? 


Act  V  Caesar  and  Cleopatra  113 

Cleopatra  (pcUpUating).     His  name,  his  name? 

CiESAR.  Shall  it  be  Mark  Antony?  (She  throws  herself 
into  his  arms.) 

Rurio.  You  are  a  bad  hand  at  a  bargain,  mistress,  if  you 
will  swap  Caesar  for  Antony. 

CiESAR.     So  now  you  are  satisfied. 

Cleopatra.    You  will  not  forget. 

CAESAR.  I  will  not  forget.  Farewell:  I  do  not  think  we 
shall  meet  again.  Farewell.  (He  kisses  her  on  the  forehead. 
She  is  much  affected  and  begins  to  sniff.    He  embarks.) 

The  Roman  Soldiers  (as  he  sets  his  foot  on  the  gangway). 
Hail,  Caesar;  and  farewell! 

He  reaches  the  ship  and  returns  Rufio's  wave  of  the  hand. 

Apollodorus  (to  Cleopatra).  No  tears,  dearest  Queen: 
they  stab  your  servant  to  the  heart.  He  will  return  some 
day. 

Cleopatra.  I  hope  not.  But  I  can't  help  crying,  all  the 
same.  (She  waves  her  handkerchief  to  Caesar;  and  the  ship 
begins  to  move.) 

The  Roman  Soldiers  (dravnng  their  swords  and  raising 
them  in  the  air).    Hail,  Caesar! 


NOTES  TO   CESAR   AND   CLEOPATRA 
CLEOPATRA'S   CURE  FOR  BALDNESS 

For  the  sake  of  conciseness  in  a  hurried  situation  I  have 
made  Cleopatra  recommend  rum.  This,  I  am  afraid,  is  an 
anachronism:  the  only  real  one  in  the  play.  To  balance  it, 
I  give  a  couple  of  the  remedies  she  actually  believed  in. 
They  are  quoted  by  Galen  from  Cleopatra's  book  on  Cos- 
metic. 

"For  bald  patches,  powder  red  sulphuret  of  arsenic  and 
take  it  up  with  oak  gum,  as  much  as  it  will  bear.  Put  on 
a  rag  and  apply,  having  soaped  the  place  well  first.  I  have 
mixed  the  above  with  a  foam  of  nitre,  and  it  worked  well." 

Several  other  receipts  follow,  ending  with:  "The  following 
is  the  best  of  all,  acting  for  fallen  hairs,  when  applied  with  oil 
or  pomatum;  acts  also  for  falling  oflF  of  eyelashes  or  for  people 
getting  bald  all  over.  It  is  wonderful.  Of  domestic  mice 
burnt,  one  part;  of  vine  rag  burnt,  one  part;  of  horse's  teeth 
burnt,  one  part;  of  bear's  grease  one;  of  deer's  marrow  one; 
of  reed  bark  one.  To  be  pounded  when  dry,  and  mixed  with 
plenty  of  honey  til  it  gets  the  consistency  of  honey;  then  the 
bear's  grease  and  marrow  to  be  mixed  (when  melted),  the 
medicine  to  be  put  in  a  brass  flask,  and  the  bald  part  rubbed 
til  it  sprouts." 

Concerning  these  ingredients,  my  fellow-dramatist,  Gilbert 
Murray,  who,  as  a  Professor  of  Greek,  has  applied  to  classical 
antiquity  the  methods  of  high  scholarship  (my  own  method  is 
pure  divination),  writes  to  me  as  follows :  "  Some  of  this  I  don't 
understand,  and  possibly  Galen  did  not,  as  he  quotes  your 
heroine's  own  language.     Foam  of  nitre  is,  I  think,  some- 


Notes  115 

thing  like  soapsuds.  Reed  bark  is  an  odd  expression.  It 
might  mean  the  outside  membrane  of  a  reed:  I  do  not  know 
what  it  ought  to  be  called.  In  the  burnt  mice  receipt  I  take 
it  that  you  first  mixed  the  solid  powders  with  honey,  and  then 
added  the  grease.  I  expect  Cleopatra  preferred  it  because 
in  most  of  the  others  you  have  to  lacerate  the  skin,  prick  it,  or 
rub  it  till  it  bleeds.  I  do  not  know  what  vine  rag  is.  I  trans- 
late literally." 


APPARENT  ANACHRONISMS 

The  only  way  to  write  a  play  which  shall  convey  to  the 
general  public  an  impression  of  antiquity  is  to  make  the 
characters  speak  blank  verse  and  abstain  from  reference  to 
steam,  telegraphy,  or  any  of  the  material  conditions  of  their 
existence.  The  more  ignorant  men  are,  the  more  convinced  are 
they  that  their  little  parish  and  their  little  chapel  is  an  apex 
to  which  civilization  and  philosophy  have  painfully  struggled 
up  the  pyramid  of  time  from  a  desert  of  savagery.  Savagery, 
they  think,  became  barbarism;  barbarism  became  ancient 
civilization;  ancient  civilization  became  Pauline  Christianity; 
Pauline  Christianity  became  Roman  Catholicism;  Roman 
Catholicism  became  the  Dark  Ages;  and  the  Dark  Ages  were 
finally  enlightened  by  the  Protestant  instincts  of  the  English 
race.  The  whole  process  is  summed  up  as  Progress  with  a 
capital  P.  And  any  elderly  gentleman  of  Progressive  tem- 
perament will  testify  that  the  improvement  since  he  was  a  boy 
is  enormous. 

Now  if  we  count  the  generations  of  Progressive  elderly 
gentlemen  since,  say,  Plato,  and  add  together  the  successive 
enormous  improvements  to  which  each  of  them  has  testified, 
it  will  strike  us  at  once  as  an  unaccountable  fact  that  the 
world,  instead  of  having  been  improved  in  67  generations  out 
of  all  recognition,  presents,  on  the  whole,  a  rather  less  dig- 
nified appearance  in  Ibsen's  Enemy  of  the  People  than  in 
Plato's  Republic.     And  in  truth,  the  period  of  time  covered 


116  Cagsar  and  Cleopatra 

by  history  is  far  too  short  to  allow  of  any  perceptible  progress 
in  the  popular  sense  of  Evolution  of  the  Human  Species. 
The  notion  that  there  has  been  any  such  Progress  since 
Caesar's  time  (less  than  20  centuries)  is  too  absurd  for  dis- 
cussion. All  the  savagery,  barbarism,  dark  ages  and  the 
rest  of  it  of  which  we  have  any  record  as  existing  in  the  past, 
exists  at  the  present  moment.  A  British  carpenter  or  stone- 
mason may  point  out  that  he  gets  twice  as  much  money  for 
his  labor  as  his  father  did  in  the  same  trade,  and  that  his 
suburban  house,  with  its  bath,  its  cottage  piano,  its  drawing- 
room  suite,  and  its  album  of  photographs,  would  have  shamed 
the  plainness  of  his  grandmother's.  But  the  descendants  of 
feudal  barons,  living  in  squalid  lodgings  on  a  salary  of  fifteen 
shillings  a  week  instead  of  in  castles  on  princely  revenues,  do 
not  congratulate  the  world  on  the  change.  Such  changes,  in 
fact,  are  not  to  the  point.  It  has  been  known,  as  far  back  as 
our  records  go,  that  man  running  wild  in  the  woods  is  different 
to  man  kennelled  in  a  city  slum;  that  a  dog  seems  to  understand 
a  shepherd  better  than  a  hewer  of  wood  and  drawer  of  water 
can  understand  an  astronomer;  and  that  breeding,  gentle 
nurture  and  luxurious  food  and  shelter  will  produce  a  kind  of 
man  with  whom  the  common  laborer  is  socially  incompatible. 
The  same  thing  is  true  of  horses  and  dogs.  Now  there  is 
clearly  room  for  great  changes  in  the  world  by  increasing  the 
percentage  of  individuals  who  are  carefully  bred  and  gently 
nurtured,  even  to  finally  making  the  most  of  every  man  and 
woman  bom.  But  that  possibility  existed  in  the  days  of  the 
Hittites  as  much  as  it  does  to-day.  It  does  not  give  the  slight- 
est real  support  to  the  common  assumption  that  the  civilized 
contemporaries  of  the  Hittites  were  unlike  their  civilized  de- 
scendants to-day. 

This  would  appear  the  tritest  commonplace  if  it  were  not 
that  the  ordinary  citizen's  ignorance  of  the  past  combines 
with  his  idealization  of  the  present  to  mislead  and  flatter  him. 
Our  latest  book  on  the  new  railway  across  Asia  describes  the 
dulness  of  the  Siberian  farmer  and  the  vulgar  pursepride  of 
the  Siberian  man  of  business  without  the  least  consciousness 


Notes  117 

that  the  sting  of  contemptuous  instances  given  might  have 
been  saved  by  writing  simply  "Farmers  and  provincial  pluto- 
crats in  Siberia  are  exactly  what  they  are  in  England."  The 
latest  professor  descanting  on  the  civilization  of  the  Western 
Empire  in  the  fifth  century  feels  bound  to  assume,  in  the  teeth 
of  his  own  researches,  that  the  Christian  was  one  sort  of  ani- 
mal and  the  Pagan  another.  It  might  as  well  be  assumed, 
as  indeed  it  generally  is  assumed  by  implication,  that  a  mur- 
der committed  with  a  poisoned  arrow  is  different  to  a  murder 
committed  with  a  Mauser  rifle.  All  such  notions  are  illusions. 
Go  back  to  the  first  syllable  of  recorded  time,  and  there  you 
will  find  your  Christian  and  your  Pagan,  your  yokel  and  your 
poet,  helot  and  hero,  Don  Quixote  and  Sancho,  Tamino  and 
Papageno,  Newton  and  bushman  unable  to  count  eleven,  all 
alive  and  contemporaneous,  and  all  convinced  that  they  are 
the  heirs  of  all  the  ages  and  the  privileged  recipients  of  the 
truth  (all  others  damnable  heresies),  just  as  you  have  them 
to-day,  flourishing  in  countries  each  of  which  is  the  bravest 
and  best  that  ever  sprang  at  Heaven's  command  from  out 
the  azure  main. 

Again,  there  is  the  illusion  of  "increased  command  over 
Nature,"  meaning  that  cotton  is  cheap  and  that  ten  miles 
of  country  road  on  a  bicycle  have  replaced  four  on  foot.  But 
even  if  man's  increased  command  over  Nature  included  any 
increased  command  over  himself  (the  only  sort  of  command 
relevant  to  his  evolution  into  a  higher  being),  the  fact  remains 
that  it  is  only  by  running  away  from  the  increased  command 
over  Nature  to  country  places  where  Nature  is  still  in  prim- 
itive command  over  Man  that  he  can  recover  from  the  effects 
of  the  smoke,  the  stench,  the  foul  air,  the  overcrowding,  the 
racket,  the  ugliness,  the  dirt  which  the  cheap  cotton  costs  us. 
If  manufacturing  activity  means  Progress,  the  town  must 
be  more  advanced  than  the  country;  and  the  field  laborers 
and  village  artizans  of  to-day  must  be  much  less  changed 
from  the  servants  of  Job  than  the  proletariat  of  modem  London 
from  the  proletariat  of  Caesar's  Rome.  Yet  the  cockney  pro- 
letarian is  so  inferior  to  the  village  laborer  that  it  is  only  by 


118  Caesar  and  Cleopatra 

steady  recruiting  from  the  country  that  London  is  kept  alive. 
This  does  not  seem  as  if  the  change  since  Job's  time  were  Prog- 
ress in  the  popular  sense:  quite  the  reverse.  The  common 
stock  of  discoveries  in  physics  has  accumulated  a  httle:  that 
is  all. 

One  more  illustration.  Is  the  Englishman  prepared  to 
admit  that  the  American  is  his  superior  as  a  human  being? 
I  ask  this  question  because  the  scarcity  of  labor  in  America 
relatively  to  the  demand  for  it  has  led  to  a  development  of 
machinery  there,  and  a  consequent  "increase  of  command 
over  Nature"  which  makes  many  of  our  English  methods 
appear  almost  medieval  to  the  up-to-date  Chicagoan.  This 
means  that  the  American  has  an  advantage  over  the  English- 
man of  exactly  the  same  nature  that  the  Englishman  has 
over  the  contemporaries  of  Cicero.  Is  the  Englishman  pre- 
pared to  draw  the  same  conclusion  in  both  cases?  I  think 
not.  The  American,  of  course,  will  draw  it  cheerfully;  but 
I  must  then  ask  him  whether,  since  a  modem  negro  has  a 
greater  "command  over  Nature"  than  Washington  had,  we 
are  also  to  accept  the  conclusion,  involved  in  his  former  one, 
that  humanity  has  progressed  from  Washington  to  the  f.n  de 
sihcle  negro. 

Finally,  I  would  point  out  that  if  life  is  crowned  by  its 
success  and  devotion  in  industrial  organization  and  ingenuity, 
we  had  better  worship  the  ant  and  the  bee  (as  moralists  urge 
us  to  do  in  our  childhood),  and  humble  ourselves  before  the 
arrogance  of  the  birds  of  Aristophanes. 

My  reason  then  for  ignoring  the  popular  conception  of 
Progress  in  Caesar  and  Cleopatra  is  that  there  is  no  reason 
to  suppose  that  any  Progress  has  taken  place  since  their  time. 
But  even  if  I  shared  the  popular  delusion,  I  do  not  see  that  I 
could  have  made  any  essential  difference  in  the  play.  I  can 
only  imitate  humanity  as  I  know  it.  Nobody  knows  whether 
Shakespear  thought  that  ancient  Athenian  joiners,  weavers, 
or  bellows  menders  were  any  different  from  Elizabethan  ones; 
but  it  is  quite  certain  that  ne  could  not  have  made  them  so, 
unless,  indeed,  he  had  played  the  literary  man  and  made 


Notes  119 

Quince  say,  not  "Is  all  our  company  here?"  but  "Bottom: 
was  not  that  Socrates  that  passed  us  at  the  Piraeus  with  Glaucon 
and  Polemarchus  on  his  way  to  the  house  of  Kephalus." 
And  so  on. 

CLEOPATRA 

Cleopatra  was  only  sixteen  when  Csesar  went  to  Egypt; 
but  in  Egypt  sixteen  is  a  riper  age  than  it  is  in  England.  The 
childishness  I  have  ascribed  to  her,  as  far  as  it  is  childishness 
of  character  and  not  lack  of  experience,  is  not  a  matter  of 
years.  It  may  be  observed  in  our  own  climate  at  the  present 
day  in  many  women  of  fifty.  It  is  a  mistake  to  suppose  that 
the  diflFerence  between  wisdom  and  folly  has  anything  to  do 
with  the  difference  between  physical  age  and  physical  youth. 
Some  women  are  younger  at  seventy  than  most  women  at 
seventeen. 

It  must  be  borne  in  mind,  too,  that  Cleopatra  was  a  queen, 
and  was  therefore  not  the  typical  Greek-cultured,  educated 
Egyptian  lady  of  her  time.  To  represent  her  by  any  such 
type  would  be  as  absurd  as  to  represent  George  IV  by  a  type 
founded  on  the  attainments  of  Sir  Isaac  Newton.  It  is  true 
that  an  ordinarily  well  educated  Alexandrian  giri  of  her  time 
would  no  more  have  believed  bogey  stories  about  the  Romans 
than  the  daughter  of  a  modern  Oxford  professor  would  be- 
lieve them  about  the  Germans  (though,  by  the  way,  it  is 
possible  to  talk  great  nonsense  at  Oxford  about  foreigners 
when  we  are  at  war  with  them).  But  I  do  not  feel  bound  to 
believe  that  Cleopatra  was  well  educated.  Her  father,  the 
illustrious  Flute  Blower,  was  not  at  all  a  parent  of  the  Oxford 
professor  type.    And  Cleopatra  was  a  chip  of  the  old  block. 

BRITANNUS 

I  find  among  those  who  have  read  this  play  in  manuscript 
a  strong  conviction  that  an  ancient  Briton  could  not  possibly 
have  been  like  a  modern  one.    I  see  no  reason  to  adopt  this 


120  Caesar  and  Cleopatra 

curious  view.  It  is  true  that  the  Roman  and  Norman  con- 
quests must  have  for  a  time  disturbed  the  normal  British 
type  produced  by  the  climate.  But  Britannus,  bom  before 
these  events,  represents  the  unadulterated  Briton  who  fought 
Caesar  and  impressed  Roman  observers  much  as  we  should 
expect  the  ancestors  of  Mr.  Podsnap  to  impress  the  cultivated 
Italians  of  their  time. 

I  am  told  that  it  is  not  scientific  to  treat  national  character 
as  a  product  of  climate.  This  only  shews  the  wide  diflFerence 
between  common  knowledge  and  the  intellectual  game  called 
science.  We  have  men  of  exactly  the  same  stock,  and  speak- 
ing the  same  language,  growing  in  Great  Britain,  in  Ireland, 
and  in  America.  The  result  is  three  of  the  most  distinctly 
marked  nationalities  under  the  sun.  Racial  characteristics 
are  quite  another  matter.  The  difference  between  a  Jew  and 
a  Gentile  has  nothing  to  do  with  the  difference  between  an 
Englishman  and  a  German.  The  characteristics  of  Britannus 
are  local  characteristics,  not  race  characteristics.  In  an  an- 
cient Briton  they  would,  I  take  it,  be  exaggerated,  since  modem 
Britain,  disforested,  drained,  urbanified  and  consequently 
cosmopolized,  is  presumably  less  characteristically  British 
than  Caesar's  Britain. 

And  again  I  ask  does  anyone  who,  in  the  light  of  a  competent 
knowledge  of  his  own  age,  has  studied  history  from  contempo- 
rary documents,  believe  that  67  generations  of  promiscuous 
marriage  have  made  any  appreciable  difference  in  the  hiunan 
fauna  of  these  isles?    Certainly  I  do  not. 

JULIUS  CAESAR 

As  to  Caesar  himself,  I  have  purposely  avoided  the  usual 
anachronism  of  going  to  Caesar's  books,  and  concluding  that 
the  style  is  the  man.  That  is  only  true  of  authors  who  have 
the  specific  Uterary  genius,  and  have  practised  long  enough 
to  attain  complete  self-expression  in  letters.  It  is  not  true 
even  on  these  conditions  in  an  age  when  literature  is  conceived 


Notes  121 

as  a  game  of  style,  and  not  as  a  vehicle  of  self-expression  by 
the  author.  Now  Caesar  was  an  amateur  stylist  writing  books 
of  travel  and  campaign  histories  in  a  style  so  impersonal  that 
the  authenticity  of  the  later  volumes  is  disputed.  They 
reveal  some  of  his  qualities  just  as  the  Voyage  of  a  NaturgJist 
Round  the  World  reveals  some  of  Darwin's,  without  express- 
ing his  private  personality.  An  Englishman  reading  them 
would  say  that  Caesar  was  a  man  of  great  common  sense  and 
good  taste,  meaning  thereby  a  man  without  originaUty  or 
moral  courage. 

In  exhibiting  Caesar  as  a  much  more  various  person  than 
the  historian  of  the  Gallic  wars,  I  hope  I  have  not  succumbed 
unconsciously  to  the  dramatic  illusion  to  which  all  great  men 
owe  part  of  their  reputation  and  some  the  whole  of  it.  I 
admit  that  reputations  gained  in  war  are  specially  questionable. 
Able  civilians  taking  up  the  profession  of  arms,  like  Caesar 
and  Cromwell,  in  middle  age,  have  snatched  all  its  laurels 
from  opponent  commanders  bred  to  it,  apparently  because 
capable  persons  engaged  in  military  pursuits  are  so  scarce  that 
the  existence  of  two  of  them  at  the  same  time  in  the  same  hemi- 
sphere is  extremely  rare.  The  capacity  of  any  conqueror  is 
therefore  more  likely  than  not  to  be  an  illusion  produced  by 
the  incapacity  of  his  adversary.  At  all  events,  Caesar  might 
have  won  his  battles  without  being  wiser  than  Charles  XII 
or  Nelson  or  Joan  of  Arc,  who  were,  like  most  modem  "self- 
made"  millionaires,  half-witted  geniuses,  enjoying  the  worship 
accorded  by  all  races  to  certain  forms  of  insanity.  But  Caesar's 
victories  were  only  advertisements  for  an  eminence  that  would 
never  have  become  popular  without  them.  Caesar  is  greater  oflF 
the  battle  field  than  on  it.  Nelson  off  his  quarterdeck  was 
so  quaintly  out  of  the  question  that  when  his  head  was  injured 
at  the  battle  of  the  Nile,  and  his  conduct  became  for  some 
years  openly  scandalous,  the  difference  was  not  important 
enough  to  be  noticed.  It  may,  however,  be  said  that  peace 
hath  her  illusory  reputations  no  less  than  war.  And  it  is 
certainly  true  that  in  civil  life  mere  capacity  for  work — the 
power  of  killing  a  dozen  secretaries  under  you,  so  to  speak, 


122  Caesar  and  Cleopatra 

as  a  life-or-death  courier  kills  horses — enables  men  with  com- 
mon ideas  and  superstitions  to  distance  all  competitors  in  the 
strife  of  political  ambition.  It  was  this  power  of  work  that 
astonished  Cicero  as  the  most  prodigious  of  Caesar's  gifts, 
as  it  astonished  later  observers  in  Napoleon  before  it  wore 
him  out.  How  if  Csesar  were  nothing  but  a  Nelson  and  a 
Gladstone  combined !  a  prodigy  of  vitality  without  any  special 
quality  of  mind!  nay,  with  ideas  that  were  worn  out  before 
he  was  bom,  as  Nelson's  and  Gladstone's  were!  I  have  con- 
sidered that  possibility  too,  and  rejected  it.  I  cannot  cite  all 
the  stories  about  Caesar  which  seem  to  me  to  shew  that  he 
was  genuinely  original;  but  let  me  at  least  point  out  that  I 
have  been  careful  to  attribute  nothing  but  originality  to  him. 
Originality  gives  a  man  an  air  of  frankness,  generosity,  and 
magnanimity  by  enabling  him  to  estimate  the  value  of  truth, 
money,  or  success  in  any  particular  instance  quite  indepen- 
dently of  convention  and  moral  generalization.  He  therefore 
will  not,  in  the  ordinary  Treasury  bench  fashion,  tell  a  lie 
which  everybody  knows  to  be  a  he  (and  consequently  expects 
him  as  a  matter  of  good  taste  to  tell).  His  lies  are  not  found 
out:  they  pass  for  candors.  He  understands  the  paradox  of 
money,  and  gives  it  away  when  he  can  get  most  for  it:  in  other 
words,  when  its  value  is  least,  which  is  just  when  a  common 
man  tries  hardest  to  get  it.  He  knows  that  the  real  moment 
of  success  is  not  the  moment  apparent  to  the  crowd.  Hence, 
in  order  to  produce  an  impression  of  complete  disinterested- 
ness and  magnanimity,  he  has  only  to  act  with  entire  selfish- 
ness; and  this  is  perhaps  the  only  sense  in  which  a  man  can  be 
said  to  be  naturaUy  great.  It  is  in  this  sense  that  I  have 
represented  Caesar  as  great.  Having  virtue,  he  has  no  need 
of  goodness.  He  is  neither  forgiving,  frank,  nor  generous, 
because  a  man  who  is  too  great  to  resent  has  nothing  to  forgive ; 
a  man  who  says  things  that  other  people  are  afraid  to  say  need 
be  no  more  frank  than  Bismarck  was;  and  there  is  no  gener- 
osity in  giving  things  you  do  not  want  to  people  of  whom  you 
intend  to  make  use.  This  distinction  between  virtue  and 
goodness  is  not  understood  in  England:  hence  the  poverty 


Notes  123 

of  our  drama  in  heroes.  Our  stage  attempts  at  them  are  mere 
goodj-goodies.  Goodness,  in  its  popular  British  sense  of  self- 
denial,  implies  that  man  is  vicious  by  nature,  and  that  supreme 
goodness  is  supreme  martyrdom.  Not  sharing  that  pious 
opinion,  I  have  not  given  countenance  to  it  in  any  of  my  plays. 
In  this  I  follow  the  precedent  of  the  ancient  myths,  which 
represent  the  hero  as  vanquishing  his  enemies,  not  in  fair  fight, 
but  with  enchanted  sword,  superequine  horse  and  magical 
invulnerability,  the  possession  of  which,  from  the  vulgar 
moralistic  point  of  view,  robs  his  exploits  of  any  merit  whatever. 

As  to  Csesar's  sense  of  himaor,  there  is  no  more  reason  to 
assimie  that  he  lacked  it  than  to  assume  that  he  was  deaf  or 
bUnd.  It  is  said  that  on  the  occasion  of  his  assassination  by 
a  conspiracy  of  moralists  (it  is  always  yom*  moralist  who 
makes  assassination  a  duty,  on  the  scaffold  or  off  it),  he  de- 
fended himself  until  the  good  Brutus  struck  him,  when  he 
exclaimed  "What!  you  too,  Brutus!"  and  disdained  further 
fight.  If  this  be  true,  he  must  have  been  an  incorrigible 
comedian.  But  even  if  we  waive  this  story,  or  accept  the 
traditional  sentimental  interpretation  of  it,  there  is  still  abun- 
dant evidence  of  his  lightheartedness  and  adventurousness. 
Indeed  it  is  clear  from  his  whole  history  that  what  has  been 
called  his  ambition  was  an  instinct  for  exploration.  He  had 
much  more  of  Columbus  and  Franklin  in  him  than  of  Henry  V. 

However,  nobody  need  deny  Caesar  a  share,  at  least,  of 
the  qualities  I  have  attributed  to  him.  All  men,  much  more 
Julius  Csesars,  possess  all  qualities  in  some  degree.  The 
really  interesting  question  is  whether  I  am  right  in  assuming 
that  the  way  to  produce  an  impression  of  greatness  is  by  ex- 
hibiting a  man,  not  as  mortifying  his  nature  by  doing  hia 
duty,  in  the  manner  which  our  system  of  putting  little  men 
into  great  positions  (not  having  enough  great  men  in  our 
influential  families  to  go  round)  forces  us  to  inculcate,  but 
as  simply  doing  what  he  naturally  wants  to  do.  For  this  raises 
the  question  whether  our  world  has  not  been  wrong  in  its 
moral  theory  for  the  last  2,500  years  or  so.  It  must  be  a  con- 
stant puzzle  to  many  of  us  that  the  Christian  era,  so  excellent 


UCSB  LIBRARY 

124  CfiBsar  and  Cleopatra 

in  its  intentions,  should  have  been  practically  such  a  very 
discreditable  episode  in  the  history  of  the  race.  I  doubt  if 
this  is  altogether  due  to  the  vulgar  and  sanguinary  sensational- 
ism of  our  religious  legends,  with  their  substitution  of  gross 
physical  torments  and  public  executions  for  the  passion  of 
humanity.  Islam,  substituting  voluptuousness  for  torment 
(a  merely  superficial  diflFerence,  it  is  true)  has  done  no  better. 
It  may  have  been  the  failure  of  Christianity  to  emancipate 
itself  from  expiatory  theories  of  moral  responsibility,  guilt, 
innocence,  reward,  punishment,  and  the  rest  of  it,  that  baffled 
its  intention  of  changing  the  world.  But  these  are  bound  up 
in  all  philosophies  of  creation  as  opposed  to  cosmism.  They 
may  therefore  be  regarded  as  the  price  we  pay  for  popular 
religion. 


THREE 

BY  BRIEUX 

(Member  of  the  French  Academy) 

MATERNITY 

DAMAGED  GOODS 

THE  THREE  DAUGHTERS  OF 

MONSIEUR  DUPONT 

WITH  PREFACE  BY  BERNARD  SHAW 
Translated  into  English 

By  Mrs.  BERNARD  SHAW,  ST.  JOHN   HANKIN 
and  JOHN  POLLOCK 

1 2 mo.     Cloth,  price  $1,50  net 


if 


"  In  that  kind  of  comedy."  writes  BERNARD  SHAW, 
"  which  is  so  true  to  life  that  we  have  to  call  it  tragi-comedy, 
and  which  is  not  only  an  entertainment  but  a  history  and  a 
criticism  of  contemporary  morals,  BRIEUX  is  incomparably 
the  greatest  writer  France  has  produced  since  Moliere." 

The  three  plays  in  this  volume  are  a  first  instalment  into 
English  of  the  work  of  a  man  who  has  been  admitted  into  the 
French  Academy  for  his  splendid  achievements,  and  who  is 
recognized  by  the  best  thinkers  in  Europe  as  one  of  the  pro- 
foundest  moral  forces  expressing  itself  as  literature  to-day. 

No  earnest  man  or  woman  can  read  these  plays  without 
being  deeply  moved  and  deeply  touched.  One  of  the  plays 
was  read  by  Brieux  himself,  at  the  special  invitation  of  the 
pastor,  from  the  pulpit  of  a  church  in  Geneva. 

BRENTANO'S 

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PLAYS 

The  following  Plays  by  Bernard  Shaw  are  issued 
in  separate  volumes,  bound  in  stiff  paper  wrappers. 

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THE  ADMIRABLE  BASHVILLE 

THE  DEVIL'S  DISCIPLE 

C/ESAR  AND  CLEOPATRA 

CAPTAIN   BRASSBOUND'S  CONVERSION 

MAN  AND  SUPERMAN 

JOHN  BULL'S  OTHER  ISLAND 

MAJOR   BARBARA 

THE  MAN  OF  DESTINY,  AND  HOW  HE 

LIED  TO  HER  HUSBAND 
THE  DOCTOR'S  DILEMMA 
GETTING   MARRIED 
THE  SHEWING-UP  OF  BLANCO  POSNET 
PRESS  CUTTINGS 

BRENTANO'S 

Fifth  Avenue  and  27th  Street  New  York 


